Get help now
  • Pages 11
  • Words 2728
  • Views 165
  • Download

    Cite

    Pete
    Verified writer
    Rating
    • rating star
    • rating star
    • rating star
    • rating star
    • rating star
    • 4.9/5
    Delivery result 5 hours
    Customers reviews 612
    Hire Writer
    +123 relevant experts are online

    Architecture and Urbanism in Renaissance Italy

    Academic anxiety?

    Get original paper in 3 hours and nail the task

    Get help now

    124 experts online

    Duomo/ Florence Cathedral (1420-1436)
    Duomo/ Florence Cathedral (1420-1436)
    – Brunelleschi
    -solved chief problem by adding double shell
    -simplified overdone means of support by reducing weight of masonry
    -herringbone brickwork pattern takes weight off
    -substituted horizontal cable chains with stone ribs
    -designed all scaffholding
    -invented special hoisting apparatus for transporting business material
    -first work of new style
    -blend of liberal arts and applied sciences
    -proportions and visual harmony
    -medieval and classical
    -perspective construction
    Ospedale degli Innocenzi/ Foundling Hospital (1419)
    Ospedale degli Innocenzi/ Foundling Hospital (1419)
    -Florence, SS.Annunziata
    – Brunelleschi
    -1st public building done by Brunelleschi
    – aisleless church= transitional style with corbels of open timber roofs
    -unfluted column shafts, corinthianesque capitals
    -roundels in spandrells
    -shallow domes in bays of loggia
    -groin vaulting
    -flat ceilings in interiors
    -regularity of plan, artistic structure
    -romanesque arch in tuscany
    – module- centralized and symmetrical
    -placing of this building determined layout for the rest of Piazza
    San Lorenzo (1421)
    San Lorenzo (1421)
    – Brunelleschi
    – Parish church of Medici Family
    -patron= Giovanni de Medici
    -centralized basilican plan, latin cross
    -lacks a facade, unfinished
    -plain cube with zone of change of pendentives forming transition into inscribed circle of dome- characteristic of brunelleschi
    -umbrella dome over cube of sacristy and crossing
    -famous imposts between capital and arches in nave
    -blend of romanesque with gothic spatiousness
    – Pilasters @ end of each colonnade to support floating entablature
    – Twin colonnades separating nave from side aisles & arched openings separating side aisles from chapels → variant of loggias facing another
    – Double-arch → arch above entablature echo bigger arches separating the nave from the side aisles
    Old Sacristy at San Lorenzo (1418-1428)
    Old Sacristy at San Lorenzo (1418-1428)
    -Brunelleschi
    -Dedicated to St. John the Evangelist
    -Giovanni de’ Medici buried in one of the chapels
    -Relief by Donatello in roundel of St. John = patron saint of the Medici
    – San Giovanni → he identifies himself w/ his name saint
    – Cosimo de’ Medici also buried @ underneath dome/crossing of the church
    – Growing family ambition → “founder” now tradition to bury @ crossing
    – Floor tomb → more extensive use of rare stones + coat-of-arms
    – In red/green inscription → “Pater Patriae” = “father of the fatherland”
    -Fluted Corinthian pilasters supporting entablature = width of chapel
    -Pilasters intersect at a right angle @ the corners
    – Walls rising up to arches → fusion between squares & circles
    -Arch of Constantine → potential influence arch & pier construction
    -String course replacing entablature
    – Masses of private intentions in family chapels → Medici tombs
    -Same module governing S. Lorenzo also present in Sacristy
    • St. Lawrence = patron saint of Cosimo de’ Medici
    • First time Brunelleschi treats wall surface like sculpture as a whole
    -Suggesting depth & malleable wall like Michelangelo
    Santo Spirto (1436)
    Santo Spirto (1436)
    – Brunelleschi developed even further idea of centralizing basilica
    -original plan rejected, erected new church so entrance front faces piazza
    -module= square of crossing
    -continuous aisles round transepts
    -semicircular chapel niches
    -perfectly symmetrical
    -arcade: clerestory ratio= 1:1
    -enhanced sculptural massiveness
    -sturdier columns
    – impost blocks
    -piers frame niches in exterior
    -more massive structure than S. Lorenzo, spatial effect arising from powerful sculptural quality of individual members
    -scenographic vista with no single observer, interplay of geometrically abstract and solidly concrete perceptions
    -picture + mass
    – discovers plasticity of walls
    Pazzi Chapel, S. Croce (1429)
    Pazzi Chapel, S. Croce (1429)
    – supreme example of Brunelleschi’s new style
    -patron= Andrea Pazzi (rival of Medici)
    – to serve as chapter house of monastery and assemblr room for family
    -site’s shape determined by existing parts
    -remains model of perfection and strict logic
    -scenographic effect on cloisters
    – most ornate decoration with color harmonies
    -prototype of form
    -Variant of Old Sacristy @ San Lorenzo by Brunelleschi → but dome looks higher & floating
    -High altar topped by dome; pietra serena; Della Robia roundels & frieze
    Oratory of S. Maria degli Angeli (1434-1437)
    Oratory of S. Maria degli Angeli (1434-1437)
    -Brunelleschi
    -completely centralized church
    -1st example of new style and capital importance
    -use of construction of piers from central space with radiating chapels
    -octaganol center
    -conceived in terms of mass: 3D substance of piers which shape all parts of space
    -influenced by ancient roman monuments
    -plasticity of wall
    – perfect synthesis between medieval and classical
    -unfinished
    -set standard
    -inspired by the antique Temple of Minerva Medica in Rome
    -exterior was flat with recessed niches
    Palazzo Pitti (1458)
    Palazzo Pitti (1458)
    -Brunelleschi/ Fenelli
    -Patron= Luca Pitti, principal supporter and friend fo Cosimo de Medici
    -closely resembles Palazzo Medici but bigger
    -ashlar rustication, gives severe and powerful atmosphere
    -roman style architecture
    -exterior- prison like due to continuous additions later on each side
    -rigid, flat, static facade
    -design and fenestration suggest that fancelli was more – experienced in utilitarian domestic arch than Alberti’s humanist ideals
    -Palace bought by Medici family in 1549 → became chief residence of the ruling families of the Grand Duchy of Tuscany
    S. Marco (1430s)
    S. Marco (1430s)
    – Michelozzo
    -Supreme simplicity
    -lucid and perfectly proportioned
    Library at S. Marco
    Library at S. Marco
    -1st library built in renaissance
    -plain ionic capitals
    -pedestals to columns in cloister
    Church at SS. Annunziata (1444)
    Church at SS. Annunziata (1444)
    – Michelozzo
    – patron=ludovigo gonzaga
    -simplistic
    -halls with chapels with intersecting tranverse walls between nave pillars and outer walls of bays
    -rotunda= exact copy of temple of minerva medica in rome
    -added equally plan and monumental chancel
    -unfinished, later finished by alberti
    -underwent many renovations
    -vestibule= architectural ornament
    -• Portico inspired by Brunelleschi’s Ospedale degli Innocenti
    • Addition of the tribune w/ radiating chapels behind high altar
    o Circular choir = rotunda → Michelozzo in 1444
    o Rotunda later finished by Alberti from 1469-1470
    o Rotunda = exact copy of the temple of Minerva Medica in Rome
    o Dramatically remodeled by Alberti → even removed some of Michelozzo’s components of the rotunda
    o Alberti eliminated ambulatory = wide open space under dome
    • Rotunda is much higher than rest of church → almost separate from rest
    • Clerestory pierced by large windows spaced out evenly
    • Strong cylindrical structure
    Chapel of Crucifex, S. Miniato (1448-1450)
    Chapel of Crucifex, S. Miniato (1448-1450)
    -Michelozzo
    • Tiny coffered barrel-vault archway in the chapel → single arcade?
    • Supporting Corinthian columns in front & Corinthian pilasters against the wall
    o Four variations of capitals
    • Insertion of entablature between columns and arch
    • Coffered vault → Masaccio’s Holy Trinity for stone masonry
    Magi Chapel, Palazzo Medici- Ricardi (1444)
    -Michelozzo
    • Patron = Cosimo de’ Medici
    • @ Piano nobile → main residence never situated on ground floor
    • Permission to build private chapel w/ portable family altar (papal connection)
    o Dedicated to the Holy Trinity → church authority = prestige
    • Nearly square room & on a step higher also square altar separated by pair of Corinthian pilasters → elite manufacturing → colored/ancient stones $$$
    • Pictorial program → frescoes by Benozzo Gozzoli in main room and fresco altarpiece by Filippo Lippi in altar w/ angels on side walls
    o Adoration of the Child, Filippo Lippi, 1460
    o Procession of the Youngest King (east), Benozzo Gozzoli, 1459-1460
    o Procession of the Middle King (south), Benozzo Gozzoli, 1459-1460
    o Procession of the Oldest King (west), Benozzo Gozzoli, 1459-1460
    • Altarpiece also of the Holy Trinity → God, Holy Spirit, and Christ united
    Magi Chapel, Palazzo Medici-Riccardi, Michelozzo, Florence, begun 1444
    • Patron = Cosimo de’ Medici
    • @ Piano nobile → main residence never situated on ground floor
    • Frescoes continuously processing on surrounding walls
    • Some figures modeled after real Medici family members (i.e. Cosimo)
    o Artist paints his self-portrait w/ Cosimo de’Medici
    • Some figures modeled after real Medici family members (i.e. Cosimo)
    • Medici identifying themselves w/ the story of the 3 Magii to prove wealth
    o Position of wealthy bankers problematic in terms of the Bible
    o Linking wealth & piety in ancient as well as contemporary terms
    o Defends exceeding wealth/lifestyle → finds solace in Magii story
    • Colored stones decorating floor most likely taken from ancient Roman temples that were in turn taken from ancient Egyptian buildings
    Palazzo Medici (1444)
    Palazzo Medici (1444)
    – Michelozzo
    – patron= Cosimo de Medici
    -Latin cross plan = traditional plan for medieval churches
    -Prime residence @ peak of Medici family → expressive of wealth & political authority but much of it today = additions later on
    -Masonry → visually asserts power & fortifies from foreign attack
    – Tripartite rustication → staggering treatment of each storey
    -Divided by horizontal stringcourses according to decreasing height
    -Interior → monastic cloisters that provided light into palace = courtyard
    -Where Donatello’s David once stood to be seen 360°
    -Decorated w/ coat-of-arms in roundels → depict mythological figures
    -Medici strongly interested in restoring antiquity
    -Cameos duplicated in marble (i.e. competition btw Minerva & Neptune)
    -Before it was filled in, there were corner loggias where visitor’s protocols were carried → private-public duality aspect
    -Michelangelo filled them in w/ pedimented aediculae in 1517
    -Massive cornice protruding out almost like a roof → distinctly Florentine
    -prototype of Tuscan- Renaissance Palazzo
    -clarity and order
    – fenestration determined by harmony of facade
    -simplistic
    -bipartite windows
    -cornice
    -rusticated blocks= status symbol
    -Donatello’s David in courtyard
    S. Maria Novella (1458)
    S. Maria Novella (1458)
    -Alberti
    -Proof of Alberti’s great artistic adaptability
    – He unified the façade by continuing Gothic design from the lower portion
    -Order of pilasters & engaged columns harmonize w/ rest of structure
    -patron= Guovanni Ruccelai
    – pilasters and engaged columns unified facade
    -cornice projections
    -round windows
    -volutes screening the lean-to roofs of the aisles inspired by Brunelleschi’s volutes on the lantern of the Duomo
    -double scrolls= renaissance/baroque facade
    -Florentine Arch
    Palazzo Ruccelai (1453)
    Palazzo Ruccelai (1453)
    – Alberti
    -prototype of pilaster facade
    -pilaster system + traditional rusticated front
    -gradation in rustication with storeys
    – similar to Colosseum with different storeys
    -frieze decorated w/ political devises
    o Personal symbols intertwined → ostrich plumes & bejeweled plates
    o Medici sails → represent Medici’s client to the public
    Tempio Malatestiano at Rimini (1450)
    Tempio Malatestiano at Rimini (1450)
    – patron= Sigismondo Malatesta
    -Alberti
    -closest approximation to antique monuments
    -criticized for being too pagan
    -medieval aisleless church= secular power
    – fluted engaged columns and capitals
    – monumental impact due to apparatus and volumes
    -never finished
    -first composition of facade based on unity as use of great, simple forms
    -princely architecture
    -imposing, absolutist manner
    -collaboration of patron, advisor, and working architects
    Chapel of Holy Sepulchre in S. Pancrazio (1458)
    Chapel of Holy Sepulchre in S. Pancrazio (1458)
    – Alberti
    -many colored costly materials
    -imitation of Holy Sepulchre in Jerusalem
    -derived structural elements from baptistery in Florence
    – onion cupolette imitation
    -intricate stone work
    -barrel vault of chapel
    S. Sebastiano, Mantua (1460)
    S. Sebastiano, Mantua (1460)
    – Alberti
    -patron= Ludovico Gonzaga
    -oratory + votive church gave peculiar form
    – centrally planned
    -strangest Albertian work
    -never finished
    -narthex facade = peculiar in how high it goes
    -hard to imagine original state
    -Greek cross plan
    – rises on basement storey
    -pilasters support entablatures
    New Sacristy at S. Lorenzo (1526-1533)
    New Sacristy at S. Lorenzo (1526-1533)
    – Michelangelo
    -Andrea del Verrocchio → beautiful side tombs
    -Tomb of Cosimo de’ Medici’s sons → male members of the family = lineage
    -Giuliano di Lorenzo de’ Medici w/ Night & Day statues
    o Lorenzo di Piero de’ Medici w/ Dusk & Dawn statues
    -Tombs paid by Piero’s son and his paternal uncle
    -Shares balance w/ Brunelleschi’s Old Sacristy in cubical space format surmounted by a dome and of pietra serena & white stucco
    Laurentian Library, S. Lorenzo (1524)
    Laurentian Library, S. Lorenzo (1524)
    -Michelangelo
    • Vestibule = explosion of originality fitting fanciful character of Mannerism
    o Staircase spills out into vestibule → sense of momentum
    o Appears like pouring forward = liquid → overwhelming the vestibule
    o First free-standing staircase in architectural history
    o Staircase itself in pietra serena = Brunelleschi; cool atmosphere
    • Vestibule intensified b/c of Mannerist walls that are covered w/ classical antiquity elements in completely unconventional ways
    o Brackets → also used in New Sacristy where they “support” heavier structure above; here they hang in purely decorative ways
    o Free-standing columns framed in niches as if they were sculptures
    o Michelangelo playing around & reinvented classical antiquity vocabulary
    o Michelangelo’s virtuosity & knowledge of classical antiquity
    • Warmer, more serious atmosphere → use of orderly classicism vocabulary
    Cappella dei Principi (
    Cappella dei Principi (“Chapel of the Princes”), S. Lorenzo, Florence, begun 1604
    • Patron = Grand Duke Ferdinando I de’ Medici
    • His ambitions = lavish design of monumental chapel-museum w/ secular appearance → commemorate all princes of Medici dynasty
    • Interior walls entirely encrusted in precious, colored marble
    • Family tombs
    The
    The “Ideal City Panels” (1480-1484)
    – oil & tempera on panel
    • Exemplifies Renaissance ideals of urban planning → respect for Greco-Roman antiquity & mastery of central perspective
    • Features triumphal arch; structure that looks similar to the Florence Baptistery (15th cent. mistaken as reused Roman temple); an amphitheater modeled after Colosseum in Rome
    • Together reflect importance of security, religion, recreation in well-regulated city & value of Roman ideals in urban design
    • Commissioned for palace of Duke Federico da Montefeltro of Urbino
    • Problems of attribution & dating
    Palazzo Piccolomini, Tuscany (1459-1462)
    -Bernardo Rosselino
    • Patron = Pope Pius II elected 1458 (Aeneas Silvius Piccolomini)
    • Indisputable influence of Michelozzo’s Palazzo Medici & his artistic idiom
    • Plan determined in part by pre-existing streets → medieval town hall, and to either side of cathedral, bishop’s palace and his own Palazzo
    o Forming a trapezoidal piazza
    o Duomo’s triple-arched façade recalls ancient Roman triumphal arches
    o Bishop’s palace → Tuscan in appearance & Roman style windows
    • Pius’s architectural nucleus/renewal of the city
    • Pattern on pavement “suggests” orderly relationship between buildings
    • Question of authorship w/ Alberti similarly to Rucellai (only provided façade)
    • Courtyard very similar to that of Palazzo Medici + triple-storey loggia
    S. Maria della Carceri, Prato, Tuscany (1485)
    -Guilano da Sangallo
    -• Patron = Lorenzo de’ Medici
    • Miraculous vision 1484 → a child saw image of Madonna and Child painted on wall of public jail (carceri) of Prato animate itself → built basilica on that site
    • External cover left unfinished → flat, 2D, Brunelleschian decoration
    • Built on outskirts of town for pilgrims to pass by
    • Greek cross plan with a central dome → indebted to Alberti & Brunelleschi
    o Inspired by Brunelleschi or Michelozzo’s Pazzi Chapel
    o Interior → Corinthian pilasters meet where walls meet at right angles
    o Definition of beauty → Vitruvian man in architecture
    • Brunelleschian motif → pietra serena (Sangallo trained by Brunelleschi)
    o Bichrome like other Prato’s buildings → white & green marble
    • Sangallo used the same idea for his project of St. Peter’s Basilica (superseded by Michelangelo) → inspired the Elder for S. Biagio @ Montepulciano
    Palazzo Strozzi (1489-1490)
    -Giuliano da Sangallo w/ contributions by Benedotto da Maiano and Cronaca
    • Proving own ambition by so closely imitating Palazzo Medici but BIGGER
    • Sangallo/Maiano’s contribution unimaginable w/o Michelozzo’s artistic idiom
    • Same types of Florentine traditional motifs →
    o Tripartite division by horizontal stringcourses
    o Roman biforate windows
    o Enormous, projecting cornice almost roof-like
    o Open courtyard enclosed by four sides of colonnade w/o impost block
    • Keystone of each arch articulated w/ corbels
    o Convenient bench going around structure for the public to sit
    • Status of owner reflected in crowdedness around building
    • Advertising authority & popularity w/ intentional bench
    • Difference → more unified rustication façade than Palazzo Medici
    Palazzo Gondi, Florence (1490s)
    -• Architect names not as important contemporarily
    • Similar Florentine style = Palazzo Strozzi & Palazzo Medici
    • Channeling ashlar masonry from rough rustication on piano nobile
    o Used 3 colors of stone → forming of pattern and consistency
    o But 3rd floor = regular ashlar masonry w/o channeling
    • Appears subtle → smooth, unified surface
    • Keystone + voussoirs decorating windows & not pediments
    • Courtyard also similar to Strozzi & Medici → no impost blocks
    S. Egidio, Cellere, Lazio (1512-1520)
    -Antonio da Sangallo the younger
    • Patron = Cardinal Alessandro Farnese
    • Central plan church = Greek cross plan
    • Farnese family’s extensive power over this region → “owned” by Farnese
    o Church politics and family name patronage → coat-of-arms decorations
    o Farnese family almost replace Medici in importance of patronage
    • Altar arm = apsidal extension → elongated Greek cross plan
    • “Beveled crossing piers” → corners cut away producing polygonal space
    o Influenced by Bramante’s plan for St. Peter’s Basilica in Rome
    o Cut away corners used for altars, niches w/ sculptures, etc.
    • Heavy use of rustic Doric order
    small, rustic country church
    S. Biagio, Montepulciano, Tuscany (1518)
    – Antonio da Sangallo the Elder
    -• Patron = Pope Leo X (Medici)
    • Greek cross plan w/ central dome & semi-circular apse; flanked by 2 belltowers
    o Belltowers = separate buildings but beautiful visual continuity = 4 stories
    o Influenced by Bramante’s plan for St. Peter’s Basilica
    • cf. S. Carceri → similar in design; clearly articulate ground plan
    o Dome clearly visible vs. entirely absent in Prato
    o Semi-circular extension of 1 arm → separate room housed in this space
    o Combinations of pilasters & engaged columns aligning w/ church stories
    o Heavy use of rustic Doric order; triglyphs & metopes on entablature
    o Denser walls → niches & roundels cut into belltowers
    o Moving away from Bru. → uniform use of local pinkish stone
    -• Miraculous fresco 1518 → 2 women and a shepherd passed in front of fresco of Madonna and Child in her lap w/ St. Francis & saw Virgin’s eyes move
    • Middle door flanked by 2 others leading into secret space behind altar
    • Niches on either side of altar filled w/ aediculae
    • Inside of drum → pattern of 3 niches in between each window
    o Depth of niches alternate between deep and shallow
    S. Andrea, Mantua (1470)
    S. Andrea, Mantua (1470)
    – Alberti
    -Patron = Ludovico Gonzaga
    -barrel vault nave
    -tunnel vault above semicircle
    -proportions calculated
    -lighting= sublime
    -monumental spaciousness
    -brilliant application of ancient Roman triumphal arch motif echoed in interior
    -Façade = of square proportions
    -Painted coffers on ceiling barrel vault but real coffers on side barrel vaults
    -Interior → rhythmic bays popularized in early 16th c. by Bramante

    This essay was written by a fellow student. You may use it as a guide or sample for writing your own paper, but remember to cite it correctly. Don’t submit it as your own as it will be considered plagiarism.

    Need custom essay sample written special for your assignment?

    Choose skilled expert on your subject and get original paper with free plagiarism report

    Order custom paper Without paying upfront

    Architecture and Urbanism in Renaissance Italy. (2017, Aug 28). Retrieved from https://artscolumbia.org/architecture-and-urbanism-in-renaissance-italy-16002/

    We use cookies to give you the best experience possible. By continuing we’ll assume you’re on board with our cookie policy

    Hi, my name is Amy 👋

    In case you can't find a relevant example, our professional writers are ready to help you write a unique paper. Just talk to our smart assistant Amy and she'll connect you with the best match.

    Get help with your paper