Renaissance

THE _______ TAUGHT PEOPLE TO ADMIRE PERFECT
PROPORTIONS. THE _____ WANTED PEOPLE TO FEEL AWE, WONDER, AND DEVOTION."

A STORY OF DRAMA, EMOTION,
AND THE GLORY OF GOD

From French: re-birth, Italian: Rinascimento, from rinascere "to be reborn";

The word Renaissance was first used and defined by French historian _____ (1798–1874), in his 1855 work, _____

Describes the intellectual and economic changes that occurred in Europe from 14th-17th century

"Rebirth" in arts, learning, trade in Europe beginning in the 1300's
Recovery from disasters of plague, political instability, decline of church power
Transition of Europe from agricultural to urban society

person capable of many achievements (Leonardo da Vinci painter, sculptor, architect, inventor, mathematician)

Renaissance began in

Center of old Roman Empire, close to classic civilizations
Center of trade with other regions
provided wealth,
exchange of ideas
urban trading cities
center of banking

What historical events influenced the development of a new building type? (di kailangan answeran)

How did printing by movable types influence history? (di kailangan answeran)

Human Anatomy is studied by

Vitruvius' _____ was published in 1486

Architectural Character of Renaissance
Renaissance employed _____ shows the departure from Gothic

FEATURES OF RENAISSANCE ARCHITECTURE

What are the periods of Renaissance?

• Period of learning
• Designers were intent on the accurate transcription of Roman elements

• Renaissance became an individual style in its own right
• Purist or Palladian, where Roman tradition was held in high respect (represented by Andrea Palladio)
• ______, where there was more confidence in using the acquired vocabulary freely
(represented by Michelangelo)
• Mannerist, where practices which had no Roman precedent were interspersed with the usual
buildings, or entire buildings were conceived in a non-Roman way
• Mannerists used architectural elements in a free, decorative and illogical way, unsanctioned by antique precedent

Purist or _____, where Roman tradition was held in high respect was represented by?

Proto-Baroque, where there was more confidence in using the acquired vocabulary freely was represented by?

where practices which had no Roman precedent were interspersed with the usual buildings, or entire buildings were conceived in a non-Roman way

used architectural elements in a free, decorative and illogical way, unsanctioned by antique precedent

• Architects worked with freedom and firmly-acquired knowledge
• The true nature of Renaissance as a distinctive style began to emerge
• _____ saw architecture, painting, sculpture and the minor arts being used in
harmony to produce the unified whole

• Style which is primarily French in origin
• Rock-like forms, fantastic scrolls, and crimped shells
• Profuse, often semi-abstract ornamentation
• Light in color and weight

this architecture was logical, staid and serene

this architecture was vivid, virile and intense

this architecture was dramatic, rich, grand and alive

this was a profusion and confusion of detail, presenting a lavish display of decoration

THE ARCHITECTS OF THE RENAISSANCE

One of the foremost architects and engineers of the Italian Renaissance.

Most famous for his discovery of perspective and for engineering the dome of the Florence Cathedral.

His principal surviving works are to be found in Florence, Italy.

The entire theory of perspective can be developed from a single fact:

The Cathedral Brunelleschi drew upon his knowledge of ancient Roman construction as well as lingering Gothic traditions to produce an innovative synthesis.

•Employed the Gothic pointed arch cross section instead of a semi circular one
•To reduce dead load, he created a double shell as was done in the Pantheon
•Employed 24 vertical ribs and 5 horizontal rings of sandstone, as observed in the ruins of Roman construction
•The cupola on top was a temple of masonry acting as a weight on top of the dome.
•Designed special machines for construction.

•Featured a continuous arcade
•At the hospital the arcading is three dimensional, creating a loggia with domed vaults in each bay.
•Use of Corinthian columns across its main facade and around an internal courtyard.
•The design was based in Roman architecture.

(1396-1472) Italian architect and sculptor.

The ______ is a Renaissance palace located in Florence.

_____ was a student of Brunelleschi

Palazzo Medici was influenced by____

Used the arcaded courtyard of the hospital.

•Rustication- stone blocks with deeply recessed chamfered joints
•Had three tiers of graduated textures, beginning with rock-faced stone at the street level and concluding with smooth ashlar at the third level below a 10-ft high cornice with modillions, egg and dart moldings and a dentil course.
•It was the first such cornice since ancient times.
•The building reflected Renaissance ideals of symmetry, the use of classical elements and careful use of mathematical proportions.

was an Italian author, artist, architect, poet, priest, linguist, philosopher, cryptographer and general Renaissance humanist polymath.

Was a classical theorist who saw architecture as a way to address societal order.

defined the Renaissance architect as a universalist, an intellectual, a man of genius and a consort to those in positions of power and authority. He himself was a Renaissance man.

He worked in Rome after his studies in Florence where he had many opportunities to see the monuments of antiquities as well as meet the artists who were visiting them.

studied the writings of the classical world like Plato, Aristotle, Plutarch and Pliny the Elder.

He wrote Della Pittura (On Painting) where it included Brunelleschi's theories of perspective and De Re Aedificatoria (On Building), the first architectural treatise of the Renaissance.

What is the 1st architectural treatise of the Renaissance?

The book was influenced by Vitruvius' The Ten Books of Architecture.

was the first completed design for a church facade in the Renaissance. Alberti linked the lower aisle roof to the pedimented higher nave with flanking scrolls.

*Built for King Ferdinand and Queen Isabella of Spain

*The erection of a monument atop the spot where St Peter was believed to have been martyred.

*Bramante designed his building to embody both the Platonic preference for ideal form and Christian reverence for tradition, in this case reverence for the circular martyrium of the early church.

*The building is a 2-story cylinder capped by a hemispherical dome and surrounded by a one-story Doric colonnade with entablature and balustrade.

*The metope panels of the frieze displays symbols connecting the current authority of the Pope to the grandeur of antiquity.

Bramante's scheme represented a building on the scale of the Baths of Diocletian capped by a dome comparable to that of the Pantheon. Started in April 1506. By the time the church was completed in nearly 150 years later, almost every major architect of the 16th and 17th century had been engaged.

was an Italian architect, who introduced Renaissance architecture to Milan and the High Renaissance style to Rome, where his plan for St. Peter's Basilica formed the basis of the design executed by Michelangelo.

His Tempietto (San Pietro in Montorio) marked the beginning of the High Renaissance in Rome (1502) when Alexander VI appointed him to build a sanctuary that allegedly marked the spot where Peter was crucified.

is often considered as the first building of the Renaissance.

was an architect active in the Republic of Venice. _____, influenced by Roman and Greek architecture, primarily by Vitruvius, is widely considered the most influential individual in the history of Western architecture. All of his buildings are located in what was the Venetian Republic, but his teachings, summarized in the architectural treatise,

The Four Books of Architecture, gained him wide recognition.

produced a body of work in architecture that arguably has been the most written about in all of Western architecture.

He went on study trips to Rome and made accurate information on classical proportions, which he later used in his designs for buildings.

The Four Books of Architecture:

the most coherent system of proportions in the Renaissance.

Was his most famous residential design. It is square in plan with a central 2 story rotonda. The central domed space radiates out to the 4 porticoes and to the elegantly proportioned rooms in the corner. It is a powerful yet simple scheme, one that would be copied many times.

Was the first example of a temple front used extensively on a domestic building.

is a large villa at Maser in the Veneto region of northern Italy. It was designed and built by the Italian architect Andrea Palladio.

How did Palladio solve the Renaissance problem of placing a classical façade in front of a basilican cross section?

was one of the great Italian architects of 16th century Mannerism. His two great masterpieces are the Villa Farnese at Caprarola and the Jesuits' Church of the Gesù in Rome.

The villa is one of the finest examples of Renaissance architecture. Ornament is used sparingly to achieve proportion and harmony. Thus while the villa dominates the surroundings, its severe design also complements the site. This particular style, known today as Mannerism, was a reaction to the ornate earlier High Renaissance designs of twenty years carlier

This villa should not be confused with the Palazzo Farnese and the Villa Farnesina, both in Rome

was an Italian Renaissance sculptor, painter, architect, poet, and engineer who exerted an unparalleled influence on the development of Western art. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with fellow Italian Leonardo da Vinci.

are two structures at the Basilica of San Lorenzo, Florence, Italy, dating from the 16th and 17th centuries, and built as extensions to Brunelleschi's 15th century church, with the purpose of celebrating the Medici family, patrons of the church and Grand Dukes of Tuscany.

The ______ was designed by Michelangelo.

a depiction of the body of Jesus on the lap of his mother Maryafter the Crucifixion, was carved in 1499, when the sculptor was 24 years old.

completed by Michelangelo in 1504, is one of the most renowned works of the Renaissance.

facade has a cornice and central window with coat of arms at the piano nobile level.

Unlike the Florentine interpretation of the type, The Palazzo Farnese has rustication only in the form of _____ and at the entry has classically inspired window surrounds.

____ style places emphasis on symmetry, proportion, geometry and the regularity of parts as they are demonstrated in the architecture of Classical antiquity and in particular, the architecture of Ancient Rome, of which many examples remained.

This style ppaces emphasis on orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular arches, hemispherical domes, niches and aedicules replaced the more complex proportional systems and irregular profiles of medieval buildings.

Renaissance Architecture ____ are square, symmetrical appearance in which proportions are usually based on a module

symmetrical around their vertical axis, domestic buildings are often surmounted by a cornice

the Roman orders of columns are used: Tuscan, Doric, Ionic, Corinthian
and Composite

semi circular

do not have ribs

the ____ is used frequently, both as a very large structural feature that is visible from the exterior

roofs are fitted with flat or coffered ceilings, frequently painted or
decorate

usually have square lintels, set within an arch or surmounted by a
triangular or segmental pediment, in the Mannerist period the
“Palladian” arch was employed

external ____ are generally of highly finished ashlar masonry, laid in
straight courses, the corners of buildings are often emphasized by rusticated quoins, basements and ground floors were often rusticated

courses, mouldings and all decorative details are carved with great
precision. Studying and mastering the details of the ancient

____ was one of the important aspects of Renaissance theory, mouldings stand out around doors and windows rather than being recessed, as in Gothic Architecture, sculptured figures may be set in niches or placed on plinths

A popular decorative treatment of the Renaissance palazzo was _____, in which a masonry wall is textured rather than smooth.

BUILDING MATERIALS AND CONSTRUCTION SYSTEM OF RENAISSANCE ARCHITECTURE

Italian name for internal court surrounded by an arcade.

a treatment of façade without column.

a blue grey stone of fine quality.

a brown stone more suitable for exterior work.

a singer’s gallery or “choir’

hard stone or brick used with similar ones to reinforce an
external corner or edge of a wall.

contains spiral wind band
or volutes.

twisted band, garland or chaplet
representing flowers, fruits, leaves for decoration.

a lump or knob, projected
ornament at the intersection of the
ribs of the ceiling

a complex
and ornate design that
employs flowers, foliage
and sometimes animal
and geometric figures to
produce an intricate
pattern of interlaced
lines.

a building or
architectural feature of a
building, designed and
situated to look out upon
a pleasing scene

an oval or oblong
slightly convex surface usually
surrounded with ornamental
scrollwork, for receiving a
painted or low relief decoration.

a decorative
representation of a
string or garland of
flowers, foliage, ribbon,
or the like, suspended in
a curve between two
points

the art or technique of painting on a freshly spread, moist plaster
surface with pigments ground up in water or a limewater mixture.

is a narrow, low relief vertical band that projects slightly
from the surface of a wall

the principal story of a large building, as a palace or villa, with
formal reception and dining rooms, usually one flight above the ground floor

screen or wall at the back of
an altar.

ashlar masonry having the visible faces of the dressed stones
raised or otherwise contrasted with the horizontal and usually the vertical joints,
which may be rabbeted, chamfered or beveled.

decoration
produced by cutting or
scratching through a
surface layer of paint or
plaster to reveal a ground
of contrasting color.

a low plain base course for
a pedestal column or wall a plain
plinth

A late renaissance church within vatican city. It is europes largest christian chruch. The second church to stand above the crypt(tomb) believed to hold the body of saint peter the first pope

The second church to stand above the crypt(tomb) believed to hold the body of saint peter the first pope

st. peters is built in a shape of a

The base of the northern grandstand of the circus becomes the foundation of the southern wall of the

The first St. Peter's Church was begun by Constantine the great about___

In 1452,_________________ began to restore and expand the church. The restoration continued until 1506, when ___________ decided to rebuild the church completely

The first architect was _________. He designed a ________, perfectly symmetrical church in the form of a greek cross

He proposed a Greek Cross plan, the centre of which would be surmounted by a dome slightly larger than that of the Pantheon

Superseded Bramante's work when Pope Julius II died in 1513. He strengthened and extended the peristyle of Bramante into a series of arched and ordered openings around the base. In his Hands, the rather delicate form of the lantern, based closely on that in florence, became a massive structure, surrounded by a projecting base, a peristyle and surmounted by a spire of conic form, but the plan was simply too eclectic to be considered.

Superseded the bramante's work together with Guiliano Da Sangallo

The main change in Raphael's plan is the nave of five bays, with a row of complex apsidal chapels off the aisles on either side

Maintained changes that Raphael had proposed to the internal arrangement of the three main apses, but otherwise reverted to the Greek cross plan and other features of bramante. Reverted to greek cross plan

Main practical contribution was to strengthen Bramante's piers which had begun to crack. Slightly altered the plan, Extended vestibule and elaborated the central dome

He reverted to Bramante's original design, the Greek Cross and converted its snowflake complexity into massive, cohesive unity. Strengthened dome and redesigned surrounding chapel

Appointed by Pope Pius V as a watchdog to make sure that Michelangelo's plans were carried out exactly after his death. Added the sided copulas

He subsequently altered Michelangelo's design by adding of lion's masks over the swags on the drum in honor of Pope Sixtus and adding a circlet of finials around the spire at the top of the lantern, as proposed by Sangallo. Also proposed to raise the outer dome higher above the inner one. Designed the dome with Fontana

He completed the dome in 1590

He made the most significant contribution since Michelangelo, because he pulled down the remaining parts of Old St. Peter's and proceeded to transform Michelangelo's centralized Greek-cross design, lengthened the nave to form into a Latin cross, and built a gigantic facade

He was regarded as the greatest architect and sculptor of the Baroque period. Bernini's works at St. Peter's include the baldacchino, the chapel of the Sacrament, the plan for the niches and oggias in the piers of the dome, the chair of St. Peter and erected the noble piazza ( St. Peter's Square) with 284 Ionic columns

__________ won pope julius II della rovere's design contest for the new church. ____ proposed a greek cross plan, the centre of which would be surmounted by a dome slightly larger than that of the Pantheon.

His plan was for a basilica in the form of a Roman Cross with a short pronaos and a facade.

He changed Bramante's plan for a balanced and restful dome into a dynamic construction. He put a drum(ring) at the base of the dome that appears to be squeezing the dome and forcing its sides to spring upwards. He shortened Raphael's nave, but Carlo Maderno added back the nave anf added the famous facade

He made the most significant contribution since Michelangelo, because he pulled down the remaining parts of Old St. Peter's and proceeded to transform Michelangelo's centralized Greek-cross design into a Latin cross with a long nave.

This extension of the basilica was undoubtedly necessary from the point of view of practical requirements, but it destroyed Michelangelo's great conception and substituted something less impressive, since the great dome can no longer be appreciated from every point of view.

• As a result of these alterations, _________ had to design a facade which would not detract too much from the dome and, at the same time, would be worthy of its setting and also contain a central feature, the Benediction Loggia, to provide a frame for the figure of the pope when he appeared in public.

• These conflicting requirements were met as far as possible by_________ adaptation of a typical Roman palace facade, with decorative motifs taken from Michelangelo's works.

• The plan to provide bell towers at the ends to enframe the dome in distant views had to be abandoned because the foundations gave trouble. The work, including the decoration, was completed on Nov. 18, 1626.

Tan awa rag iyang floorplan sa file kay ambot unsaon pag explain

The facade designed by ______, is _________ wide and _________ high. It is built of travertine stone, with a giant order of Corinthian columns and a central pediment rising in front of a tall attic surmounted by thirteen statues: Chrust flanked by eleven of the apostles (except peterm whose statue is left of the stairs) and John the baptist.

Several architects made their changes to the architectural plan fromt he time that pope nicholas V(1447-55) decided to rebuild and the completion of the church in 1626 during the reign of Pope Urban VIII. The facade is by __________

The church was given an impressive setting by Gian Lorenzo Bernini, one of its architects.
An avenue almost 1.5 kilometers long leads from the Tiber River to the Piazza Di San Pietro (Square Of St. Peter), a large open space in front of the church.
A red granite obelisk (shaft) stands 26 meters high in the piazza’s centre. It was brought to Rome from Egypt about A.D. 37, and was moved to the piazza in 1586.
The Piazza which was completed in 1667, contains two fountains and two colonnades (rows of columns) arranged in semicircles on opposite sides of the Piazza.

architecture by Michelangelo Bonaroti, facade by Carlo Maderno, porticos by Bernini, dome initiated by Michelangelo Della Porta, and the spire [on] top of the dome by Fontana.

The interior of the church is decorated in Baroque style.
Bernini, who was also a sculptor, created many of its famous features in the 1650s.
He built the elaborate bronze baldacchino (canopy) over the main altar, which stands beneath the dome. It closes the extremely long sweep of the nave and is 95 Ft. high.
As may be seen in the accompanying plan, the four principal divisions of the basilica extend from the dome and are connected with each other by passages behind the dome piers.
To the right and to the left of the nave lie the smaller and lower aisles, the right of which is bordered by four lateral chapels, the left by three chapels and the passage to the roof.

first work at St. Peter's was to design the baldacchino, a pavilion-like structure 30 metres (98 ft) tall and claimed to be the largest piece of bronze in the world, which stands beneath the dome and above the altar. Its design is based on the ciborium, of which there are many in the churches of Rome, serving to create a sort of holy space above and around the table on which the Sacrament is laid for the Eucharist and emphasizing the significance of this ritual. These ciboria are generally of white marble, with inlaid coloured stone.

concept was for something very different. He took his inspiration in part from the baldachin or canopy carried above the head of the pope in processions, and in part from the eight ancient columns that had formed part of a screen in the old basilica. Their twisted barel-y-sugar shape had a special significance as the form to which Jesus was bound before his crucifixion was believed to be of that shape.

Based on these columns, _______created four huge columns of bronze, twisted and decorated with olive leaves and bees, which were the emblem of Pope Urban.

The general decoration consists of colored marble incrustations, stucco figures, rich gilding, mosaic decoration, and marble figures on the pilasters, ceiling, and walls.
The paneling of the pavement in geometric figures is of colored marble after the designs of Giacomo della Porta and Bernini.
Beneath it is the Confession of St. Peter, where the body of the Prince of Apostles reposes – the tomb of St. Peter’s.
No chairs or pews obstruct the view; the eye roves freely over the glittering surface of the marble pavement, where there is room for thousands of people.

a fresco in the Sistine Chapel by Michelangelo (1534–41), came under persistent attack in the Counter-Reformation for, among other things, nudity (later painted over for several centuries), not showing Christ seated or bearded, and including the pagan figure of Charon.

Major axis of the piazza

Minor axis of the piazza

Vestibule of the basilica

Height and width of the nave

Entire length of the basilica including the vestibule

From the pavement of the church (measured from the Confession) to the oculus of the lantern resting upon the dome the height -

To the summit of the cross surmounting the lantern

The measurements of the interior diameter of the dome vary somewhat, being generally computed at ______, thus exceeding the dome of the Pantheon by a span of______

The surface area of St. Peter's is

Only opened on special occasions