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Renaissance Architecture

During the High Renaissance, architectural concepts derived from classical antiquity were developed and used with greater surety.

Learning Objectives

Proper noun some distinguishing features of Italian Renaissance compages, its major exponents, and of import architectural concepts

Key Takeaways

Key Points

• Renaissance architecture adopted distinguishing features of classical Roman architecture. Withal, the forms and purposes of buildings had changed over time, equally had the structure of cities, which is reflected in the fusion of classical and 16th century forms.
• The primary features of 16th century structures, which fused classical Roman technique with Renaissance aesthetics , were based in several foundational architectural concepts: facades, columns and pilasters , arches , vaults , domes , windows, and walls.
• Although studying and mastering the details of the ancient Romans was one of the of import aspects of Renaissance architectural theory, the manner too became more decorative and ornamental, with a widespread use of statuary, domes, and cupolas.

Primal Terms

• pediment: A classical architectural element consisting of a triangular section or gable establish above the horizontal superstructure (entablature) which lies immediately upon the columns.
• pilaster: A rectangular column that projects partially from the wall to which it is fastened; it gives the appearance of a support, but is only for ornament.
• Renaissance Architecture: Renaissance architecture is the architecture of the menses betwixt the early 15th and early on 17th centuries in different regions of Europe, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material civilisation. Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Bizarre compages.

Background

Renaissance architecture is European architecture between the early 15th and early on 17th centuries. It demonstrates a conscious revival and development of certain elements of classical thought and cloth culture , particularly symmetry and classical orders. Stylistically, Renaissance architecture came later on the Gothic flow and was succeeded by the Bizarre . During the High Renaissance , architectural concepts derived from classical antiquity were developed and used with greater surety.

The well-nigh representative builder of Italian Renaissance Architecture is Bramante (1444–1514), who developed the applicability of classical architectural elements to contemporary buildings, a fashion that was to dominate Italian architecture in the 16th century. In the tardily 15th century and early on 16th century architects such as Bramante, Antonio da Sangallo the Younger, and others showed a mastery of the revived style and ability to utilize information technology to buildings such equally churches and metropolis palazzos, which were quite different from the structures of ancient times. Although studying and mastering the details of the ancient Romans was 1 of the important aspects of Renaissance architectural theory, the style also became more decorative and ornamental, with a widespread use of bronze, domes, and cupolas.

Forms and Purposes of Buildings

Renaissance compages adopted obvious distinguishing features of classical Roman compages. However, the forms and purposes of buildings had inverse over time, as had the construction of cities, which is reflected in the resulting fusion of classical and 16th century forms. The plans of Renaissance buildings typically have a square, symmetrical appearance in which proportions are normally based on a module. The primary features of 16th century structures, which fused classical Roman technique with Renaissance aesthetics, were based in several foundational architectural concepts: facades, columns and pilasters, arches, vaults, domes, windows, and walls.

Foundational Architectural Concepts

Renaissance façades are symmetrical around their vertical axis. For case, church building façades of this period are generally surmounted by a pediment and organized by a system of pilasters, arches, and entablatures . The columns and windows testify a progression towards the eye. I of the beginning true Renaissance façades was the Cathedral of Pienza (1459–62), which has been attributed to the Florentine architect Bernardo Gambarelli (known as Rossellino).

Cathedral of Pienza: This Cathedral demonstrates one of the commencement truthful Renaissance façades.

Renaissance architects also incorporated columns and pilasters, using the Roman orders of columns (Tuscan, Doric, Ionic, Corinthian, and Composite) equally models. The orders can either be structural, supporting an arcade or architrave , or purely decorative, set against a wall in the course of pilasters. During the Renaissance, architects aimed to use columns, pilasters, and entablatures as an integrated system. One of the first buildings to use pilasters as an integrated system was the One-time Sacristy (1421–1440) by Brunelleschi.

Classical Roman Columns: Orders of Architecture in the Greek Columns

The dome is used frequently in this flow, both as a very large structural feature that is visible from the outside, and too as a means of roofing smaller spaces where they are only visible internally. Domes were used in important structures such as the Pantheon during artifact, but had been used only rarely in the Middle Ages . After the success of the dome in Brunelleschi'south design for the Florence Cathedral and its employ in Bramante's plan for St. Peter'due south Basilica in Rome , the dome became an indispensable element in Renaissance church architecture and carried over to the Bizarre.

Dome of St. Peter'due south Basilica: The Dome of St Peter'southward Basilica, Rome is oftentimes cited as a foundational piece of Renaissance architecture.

Windows may be paired and ready inside a semicircular arch and may have square lintels and triangular or segmental pediments, which are often used alternately. Emblematic in this respect is the Palazzo Farnese in Rome, begun in 1517. In the Mannerist period, the "Palladian" arch was employed, using a motif of a high semicircular topped opening flanked with two lower square-topped openings. Windows were used to bring light into the building and in domestic architecture, to show the view. Stained glass, although sometimes present, was not a prevalent feature in Renaissance windows.

Palazzo Farnese: The Palazzo Farnese in Rome demonstrates the Renaissance window'due south particular utilise of square lintels and triangular and segmental pediments used alternatively.

Finally, external Renaissance walls were mostly of highly finished ashlar masonry, laid in direct courses . The corners of buildings were often emphasized by rusticated quoins. Basements and footing floors were sometimes rusticated, as modeled on the Palazzo Medici Riccardi (1444–1460) in Florence. Internal walls were smoothly plastered and surfaced with white chalk pigment. For more formal spaces, internal surfaces were typically busy with frescoes .

Palazzo Medici Riccardi: Rusticated stone walls of the Renaissance Palazzo Medici Riccardi

Renaissance Compages in Florence

Renaissance compages first developed in Florence in the 15th century and represented a conscious revival of classical styles.

Learning Objectives

Define the importance and specific style of 15th century Florentine architecture

Key Takeaways

Key Points

• The Renaissance style of architecture emerged in Florence not every bit a slow development from preceding styles, but rather every bit a conscious evolution put into motion by architects seeking to revive the golden age of classical antiquity .
• The Renaissance style eschewed the complex proportional systems and irregular profiles of Gothic structures, and placed emphasis on symmetry , proportion, geometry, and regularity of parts.
• 15th century architecture in Florence featured the use of classical elements such every bit orderly arrangements of columns , pilasters , lintels , semicircular arches , and hemispherical domes .
• Filippo Brunelleschi was the commencement to develop a true Renaissance architecture.
• While the enormous brick dome that covers the central space of the Florence Cathedral used Gothic applied science, it was the outset dome erected since classical Rome and became a ubiquitous feature in Renaissance churches.
• The buildings of the early Renaissance in Florence expressed a new sense of lite, clarity, and spaciousness that reflected the enlightenment and clarity of heed glorified by the philosophy of Humanism .

Key Terms

• quattrocento: Term that denotes the 1400s, which may also be referred to as the 15th century Renaissance Italian period.
• entablature: The role of a classical temple higher up the capitals of the columns; includes the architrave, frieze, and cornice simply not the roof.
• pilaster: A rectangular column that projects partially from the wall to which information technology is attached; it gives the appearance of a support, but is only for ornament.

The Quattrocento , or the 15th century in Florence, was marked past the development of the Renaissance style of compages, which represented a conscious revival and development of ancient Greek and Roman architectural elements. The rules of Renaissance architecture were start formulated and put into practice in 15th century Florence, whose buildings afterwards served every bit an inspiration to architects throughout Italy and Western Europe.

The Renaissance style of architecture emerged in Florence non as a slow development from preceding styles, merely rather as a conscious development put into motion by architects seeking to revive a golden historic period. These architects were sponsored past wealthy patrons including the powerful Medici family unit and the Silk Guild , and approached their craft from an organized and scholarly perspective that coincided with a full general revival of classical learning. The Renaissance style deliberately eschewed the complex proportional systems and irregular profiles of Gothic structures. Instead, Renaissance architects placed accent on symmetry, proportion, geometry, and regularity of parts as demonstrated in classical Roman architecture. They besides made considerable use of classical antiquarian features such equally orderly arrangements of columns, pilasters, lintels, semicircular arches, and hemispherical domes.

The person generally credited with originating the Renaissance style of architecture is Filippo Brunelleschi (1377–1446), whose first major commission—the enormous brick dome that covers the central space of the Florence Cathedral—was also perhaps architecturally the about pregnant. Known every bit the Duomo, the dome was engineered past Brunelleschi to cover a spanning in the already existing Cathedral. The dome retains the Gothic pointed curvation and the Gothic ribs in its design. The dome is structurally influenced by the groovy domes of Aboriginal Rome such as the Pantheon , and information technology is ofttimes described as the starting time edifice of the Renaissance. The dome is made of cerise brick and was ingeniously synthetic without supports, using a deep understanding of the laws of physics and mathematics. It remains the largest masonry dome in the world and was such an unprecedented success at its time that the dome became an indispensable element in church and even secular architecture thereafter.

Duomo of Florence: The Florence Cathedral is the first example of a true dome in Renaissance architecture.

Another key figure in the development of Renaissance architecture in Florence was Leon Battista Alberti (1402—1472), an important Humanist theoretician and designer, whose book on architecture De re aedificatoria was the first architectural treatise of the Renaissance. Alberti designed two of Florence'south all-time known 15th century buildings: the Palazzo Rucellai and the facade of the church building of Santa Maria Novella. The Palazzo Rucellai, a palatial townhouse built 1446–51, typified the newly developing features of Renaissance architecture, including a classical ordering of columns over three levels and the utilize of pilasters and entablatures in proportional relationship to each other.

Palazzo Rucellai, Florence: Designed by Leon Battista Alberti between 1446–1451.

The facade of Santa Maria Novella (1456–70) also showed similar Renaissance innovations based on classical Roman architecture. Alberti attempted to bring the ethics of humanist architecture and proportion to the already existing structure while creating harmony with the existing medieval facade. His contributions included a classically inspired frieze decorated with squares, iv white-light-green pilasters, and a round window crowned by a pediment with the Dominican solar emblem and flanked on both sides past S-shaped scrolls. While the pediment and the frieze were inspired past classical architecture, the scrolls were new and without precedent in antiquity, and ended up becoming a very popular architectural feature in churches all over Italia.

Santa Maria Novella: Façade of Santa Maria Novella church in Florence, designed past Alberti

The buildings of the early Renaissance in Florence expressed a new sense of light, clarity, and spaciousness that reflected the enlightenment and clarity of mind glorified by the philosophy of Humanism.

Renaissance Compages in Rome

Rome, the 2d Renaissance capital later on Florence, was i of the about important architectural and cultural centers during this catamenia.

Learning Objectives

Identify features and the nigh important examples of Roman Renaissance architecture

Key Takeaways

Key Points

• Roman Renaissance architects derived their main designs and inspirations from Roman and Greek classical models.
• Donato Bramante (1444–1514) was a key figure in Roman compages during the High Renaissance .
• The Palazzo Farnese, 1 of the most important High Renaissance palaces in Rome , is a master example of Renaissance Roman compages.

Key Terms

• Rome: A urban center, the uppercase of the province of Latium and the seat of the Holy See during the Renaissance.

Rome is widely regarded by scholars as the second Renaissance capital of Italy, later Florence, and was one of the most of import architectural and cultural centers during this period. Roman Renaissance architects derived their main designs and inspirations from classical models. The style of Roman Renaissance architecture does not greatly differ from what may be observed in Florence Renaissance architecture. However, patrons in Rome tended to be important officials of the Catholic Church, and buildings are generally religious or palatial in function.

Donato Bramante (1444—1514) was a central figure in Roman architecture during the High Renaissance. Bramante was built-in in Urbino and offset came to prominence as an architect in Milan before traveling to Rome. In Rome, Bramante was deputed by Ferdinand and Isabella to pattern the Tempietto, a temple that marks what was believed to be the exact spot where Saint Peter was martyred. The temple is circular, similar to early Christian martyriums, and much of the pattern is inspired by the remains of the ancient Temple Vesta. The Tempietto is considered by many scholars to be the premier example of High Renaissance architecture. With its perfect proportions, harmony of parts, and direct references to ancient compages, the Tempietto embodies the Renaissance. This structure has been described as Bramante's "calling menu" to Pope Julius II, the important Renaissance patron of the arts who would then employ Bramante in the historic pattern of the new St. Peter'due south Basilica .

The Tempietto, c. 1502, Rome, Italy.: Designed past Donato Bramante, the Tempietto is considered the premier example of High Renaissance compages.

Some other chief example of Renaissance Roman architecture includes the Palazzo Farnese, one of the nigh important High Renaissance palaces in Rome. First designed in 1517 for the Farnese family unit, the edifice expanded in size and conception from designs by Antonio da Sangallo the Younger when Alessandro Farnese became Pope Paul Three in 1534. Its building history involved some of the well-nigh prominent Italian architects of the 16th century, including Michelangelo, Jacopo Barozzi da Vignola, and Giacomo della Porta. Key Renaissance architectural features of the main facade include the alternate triangular and segmental pediments that cap the windows of the piano nobile, the central rusticated portal, and Michelangelo's projecting cornice , which throws a deep shadow on the tiptop of the facade. Michelangelo revised the central window in 1541, adding an architrave to give a fundamental focus to the facade, above which is the largest papal stemma, or coat-of-arms with papal tiara, Rome had always seen.

Palazzo Farnese: The Palazzo Farnese in Rome demonstrates the Renaissance window's particular utilize of square lintels and triangular and segmental pediments used alternatively.

The Palazzo Farnese courtyard, initially open up arcades , is ringed by classically inspired columns (characteristic of Italian Renaissance architecture), in ascending orders (Doric, Corinthian, and Ionic). The pianoforte nobile entablature was given a frieze with garlands, added by Michelangelo. On the garden side of the palace, which faced the River Tiber, Michelangelo proposed the innovatory design of a span which, if completed, would have linked the palace with the gardens of the Vigna Farnese. While the practicalities of achieving this bridge remained dubious, the idea was a bold and expansive one. During the 16th century, two big granite basins from the Baths of Caracalla were adapted as fountains in the Piazza Farnese, the urban face of the palace. The palazzo was completed for the second Key Alessandro Farnese by Giacomo della Porta'south porticoed facade towards the Tiber (finished in 1589). Following the decease of Cardinal Odoardo Farnese in 1626, the palazzo stood virtually uninhabited for 20 years.

Renaissance Compages in Venice

In the Veneto, the Renaissance ushered in a new era of architecture after a Gothic phase, which drew on classical Roman and Greek motifs.

Learning Objectives

Describe the style of Venetian architecture during the Renaissance, and of Palladio in particular

Key Takeaways

Fundamental Points

• Architecture in Venice and the Veneto was largely based on the work of Andrea Palladio, who designed and completed some highly influential works, including Villas in the mainland, Vicenza, Padua, and Treviso.
• Palladian compages , in masterpieces such as Villa Emo, Villa Barbaro, Villa Capra, and Villa Foscari, evoked the imagined grandeur of antique classical Roman villas.
• Palladio created an architectural move chosen Palladianism, which had a potent following in the side by side iii centuries, inspiring a new generation of architects who completed several works that echo Palladio'southward aestheticism, including the start Teatro Olimpico in Vicenza.

Key Terms

• Venice: A maritime urban center and associated province in the Veneto, Italy.
• Veneto: A region of northern Italy.
• Palladian Compages: Palladian architecture is a European style of architecture derived from the designs of the Venetian architect Andrea Palladio (1508–1580). The term "Palladian" normally refers to buildings in a style inspired by Palladio's own work; what is recognized as Palladian compages today is an evolution of Palladio's original concepts.

Venice, the capital of the Veneto, has a rich and various architectural style , the near famous of which is the Gothic manner. Venetian Gothic compages is a term given to a Venetian building style combining employ of the Gothic lancet arch with Byzantine and Ottoman influences. The manner originated in 14thcentury Venice, where the confluence of Byzantine style from Constantinople met Arab influence from Moorish Kingdom of spain. Chief examples of the style are the Doge'south Palace and the Ca' d'Oro in the metropolis. The city as well has several Renaissance and Baroque buildings, including the Ca' Pesaro and the Ca' Rezzonico.

In the Venato, the Renaissance ushered in a new era of compages after a phase of Gothic art, with the creation of important works including the Ca' d'Oro and the churches of Santa Maria Gloriosa dei Frari and of Saints John and Paul in Venice. This phase of architecture demonstrates how Gothic and Byzantine influences lingered much longer in Venice than they did in Florence or Rome during the Renaissance.

Ca' d'Oro: Ca' d'Oro façade overlooking the Grand Canal in Venice

Later architecture in Venice and the Veneto was largely based on the work of Andrea Palladio, who designed and completed some highly influential works, including villas in the mainland, Vicenza, Padua, and Treviso. In Venice, he designed the Basilica of San Giorgio Maggiore, the Il Redentore, and Zitelle on the island of Giudecca. Palladian architecture, in masterpieces such equally Villa Emo, Villa Barbaro, Villa Capra, and Villa Foscari, evoked the imagined grandeur of antique classical Roman villas.

Villa Foscari: The front end façade of the Villa Foscari features several neoclassical columns.

This aesthetic , established through Palladio's publications, proved very popular and underwent a revival in the neoclassical flow. For case, Palladian villas were designed and then that the owner visibly exerted control over production activities of the surrounding countryside by structuring the functional parts, such equally the porch, close to the central trunk. In the instance of Villa Badoer, the open befouled, formed by a large round colonnade enclosing the front 1000 in front end of the villa, created a space that recalled the ancient idea of the Roman Forum , bringing all campaign activities to the front of the villa itself.

Palladio created an architectural movement called Palladianism, which had a strong following in the next 3 centuries. Palladianism inspired architects, some of them his direct students, including Vincenzo Scamozzi, who completed several works that echoed Palladio'south aestheticism, including the first Teatro Olimpico in Vicenza.

Teatro Olimpico: Scaenae frons of the Teatro Olimpico. The permanent groundwork is elaborately decorated, and the big curvation in the center is known as the porta regia or "royal arch."

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/renaissance-architecture/