ARCHITECTURE
SPECIFIC GOALS:
 GIVE EXAMPLES OF MAJOR ARCHITECTURAL
PROJECTS UNDERTAKEN IN ITALY (MOSTLY ROME
AND VENICE).
 NOTE THE SCULPTURAL ASPECTS OF RENAISSANCE
ARCHITECTURE
 IDENTIFY IMPORTANT ARCHITECTS AND THE
DISTINCTIVE ELEMENTS OF THEIR STYLES
 IDENTIFY THEORIES AND ELEMENTS OF
RENAISSANCE ARCHITECTURE THAT INFLUENCE
MODERN ARCHITECTURE
BRAMANTE
 CREATED INNOVATIVE CENTRAL-PLAN DESIGNS
BASED MOSTLY ON CLASSICAL SOURCES
(INFLUENCE OF GREEK THOLOI AND ROMAN
CIRCULAR TEMPLES), AND FIRST ARCHITECT OF
NEW SAINT PETER’S.
DONATO D’ANGELO
BRAMANTE,
TEMPIETTO, SAN
PIETRO IN
MONTORIO, ROME,
ITALY, © 1502.
MARTYRIUM: MARKS
SPOT OF ST. PETER’S
MARTYRDOM
CLOSER TO ROMAN
TEMPLE OR GREEK
THOLOS?
“SCULPTURAL”
BALANCE AND
AWARENESS OF
LIGHT AND SHADOW
CLASSICAL ROMAN CIRCULAR TEMPLES HAD
MORE OBVIOUS FRONTAL ORIENTATION
TEMPLE OF VESTA,
TIVOLI, EARLY 1ST
CENTURY B.C.E.
PANTHEON, © 118-125
TEMPIETTO PLAN
TEMPIETTO: TUSCAN
COLUMNS AND DORIC
FRIEZE (TRIGLYPHS
AND METOPES)
TEMPIETTO: BALUSTRADE, AND DRUM
(ALTERNATING RECTANGULAR “WINDOWS” AND
SHELL-CAPPED NICHES – LIGHT AND SHADOW!
BRAMANTE, PLAN FOR NEW SAINT PETER’S: RECALL
THE EARLY RENAISSANCE ARCHITECTS' DESIRE TO FUSE
CENTRAL AND AXIAL PLANS
MICHELANGELO
CHRISTOFORO FOPPA CARADOSSO, MEDAL SHOWING
BRAMANTE’S DESIGN FOR THE NEW SAINT PETER’S, 1506.
BRONZE, 2 1/4” DIAMETER. BRITISH MUSEUM
MICHELANGELO’S
PLAN FOR NEW
SAINT PETER’S, 1546
"CULT OF THE AXIS"
- RELATION OF
BUILDING TO
HUMAN BODY
COMPARE BRAMANTE
AND MICHELANGELO
PLANS
MICHELANGELO, SAINT PETER’S (LOOKING NORTHEAST),
VATICAN CITY, 1546-64. SCULPTURAL! UNDULATING
WALLS, UNIFYING COLOSSAL PILASTERS (AND WOULD
HAVE HAD “CALM” HEMISPHERICAL DOME)
VIEW OF SAINT PETER’S FROM THE TIBER (EAST). OGIVAL
DOME BY GIACOMO DELLA PORTA. 1590. DOME IS APPROX.
446' HIGH (AVERAGE STOREY = 10')
ANTONIO DA SANGALLO THE YOUNGER, PALAZZO FARNESE
(LOOKING SOUTHEAST), ROME, 1517-1546; COMPLETED BY
MICHELANGELO, 1546-1550.
DA SANGALLO, COURTYARD OF THE PALAZZO FARNESE, ©
1517–1546. THIRD STORY AND ATTIC BY MICHELANGELO
BUONARROTI, 1546-1550. PATRON?
A CARDINAL
MICHELANGELO,
PIAZZA DEL
CAMPIDOGLIO,
CAPITOLINE HILL.
ROME, © 1537.
"CULT OF THE AXIS"
MICHELANGELO'S
SOLUTION FOR
TRAPEZOIDAL,
UNEVEN SPACE –
CREATED WHEN HE
REVERSED
ORIENTATION TO
FOCUS ON VATICAN
RATHER THAN
SENATE
ÉTIENNE DUPÉRAC, PIAZZA DEL CAMPIDOGLIO,
ENGRAVING, 1568. PAVING DESIGN = OVOID (NOT
INSTALLED UNTIL 20TH CENTURY – MUSSOLINI)
PALLADIO
 VENETIAN ARCHITECT ANDREA DI PIETRO.
INSPIRED BY VITRUVIUS. HIS RATIONAL,
SYMMETRIC VERSION OF CLASSICISM STYLE
LATER BECAME THE MODEL AND GAVE A NAME
TO FOR NEO-CLASSICICAL (PALLADIAN)
ARCHITECTURE. COGNOMEN FROM ATHENA
PALLAS, GODDESS OF WISDOM. WROTE HIS OWN
ARCHITECTURAL TREATISE, WHICH PARTIALLY
ACCOUNTS FOR HIS CONTINUING INFLUENCE.
PALLADIO, VILLA ROTONDA (FORMERLY VILLA
CAPRA), NEAR VICENZA, ITALY, © 1566–1570.
BELVEDERE – FORM FOLLOWS FUNCTION!
VILLA ROTUNDA, PERFECTLY RADIALLY
SYMMETRIC. PATRON?
A PRIEST
INTERIOR OF DOME, VILLA ROTUNDA: NICE WEEKEND HOUSE
FOR A PRIEST! NOTE BALUSTRADED AMBULATORY IN DOME
PLAN, VILLA ROTUNDA?
GREEK CROSS, SQUARE, CIRCLE
THOMAS JEFFERSON, ROTUNDA, UNIVERSITY
OF VIRGINIA, 1822.
PALLADIO, AERIAL VIEW OF SAN GIORGIO
MAGGIORE, VENICE, ITALY, BEGUN 1566.
FAÇADE, SAINT
GIORGIO MAGGIORE
= DUAL FAÇADE
PALLADIO'S SOLUTION
FOR PROBLEM OF
HOW TO PUT A
"RATIONAL" FAÇADE
ON BASILICA WITH
HIGH NAVE AND LOW
AISLES (AVOID THE
"SCREEN" EFFECT OF
CHURCHES SUCH AS
SANTA MARIA
NOVELLO
ALBERTI, FAÇADE OF SANTA MARIA NOVELLO, 1456 - 70
CHOIR AND APSE, SAN GIORGIO MAGGIORE
MANNERISM
SPECIFIC GOALS:
 UNDERSTAND MANNERISM AS AN ARTIFICIAL,
IDIOSYNCRATIC STYLE IN CONTRAST TO THE
NATURALISM OF THE HIGH RENAISSANCE.
 EXAMINE MANNERISM AS INTERESTED IN
EXPRESSIVE FORMS OF ART RATHER THAN CLASSICAL
FORMS.
 EXPLORE THE LIVES AND WORKS OF KEY ARTISTS
OF THE MANNERIST STYLE.
 RECOGNIZE THE ARTISTIC ELEMENTS OF
MANNERIST PAINTING, SCULPTURE, AND
ARCHITECTURE.
ARCHITECTURE
GIULIO ROMANO, INTERIOR COURTYARD FACADE OF THE
PALAZZO
DEL TÈ,
MANTUA,
ITALY,
1525–1535.
GIULIO ROMANO,
interior
courtyard
facade
of the Palazzo del
ANTI-CLASSICAL!
MICHELANGELO,
VESTIBULE OF
LAURENTIAN
LIBRARY,
FLORENCE, 1524-34;
STAIRCASE 1558-59.
MANNERIST
ELEMENTS?
FORM DOESN’T
FOLLOW FUNCTION:
MASSIVE BUT
NONSTRUCTURAL
COLUMNS, SPLIT
COLUMNS, PURELY
DECORATIVE
VOLUTE CORBELS
PILASTERS FLANKING NICHES TAPER UPWARD.
INTERRUPTED STRING COURSES
FORM
DOESN’T
EVEN ALLOW
FUNCTION:
STAIRWAY IS
LOVELY
SCULPTURE,
BUT TRY
WALKING ON
IT!
NOTE THAT
THE OUTSIDE
STAIRCASES
DON’T GO
ANYWHERE
GIACOMO DELLA PORTA, FAÇADE OF IL GESÙ, ROME,
© 1575–1584. THIS IS NOT MANNERIST – IN SAME
RENAISSANCE TRADITION AS ALBERTI
1) DOME
2)
1
3
2
NAVE
3) SIDE CHAPELS
3
GIACOMO DA
VIGNOLA,
PLAN, IL
GESÙ, 1568.
ALSO NOT
MANNERIST!
VERY
RATIONAL.
MODEL FOR
LATER
CHURCHES
PAINTING
SPECIFIC GOALS:
 RECOGNIZE BASIC FEATURES OF MANNERISM:
 MANNERED – CONTRIVED, "STYLISH"
 ELONGATED FIGURES
 LESS EMPHASIS ON BALANCE, SYMMETRY, AND
RATIONAL COMPOSITION
 UNUSUAL LIGHTING EFFECTS
 COMPARE AND CONTRAST MANNERIST PAINTING
WITH THAT OF THE HIGH RENAISSANCE
 IDENTIFY MAJOR MANNERIST ARTISTS, THEIR
STYLES AND MAJOR WORKS
JACOPO DA
PONTORMO,
ENTOMBMENT OF
CHRIST, CAPPONI
CHAPEL, SANTA
FELICITÀ,
FLORENCE, ITALY,
1525–1528. OIL ON
WOOD, 10' 3" X 6' 4".
WHAT'S MANNERED?
UNNATURAL SETTING,
POSITIONS
VOID IN CENTER
NO CROSS (INVISIBLE)
TINY HEADS, LONG
LIMBS
PARMIGIANINO, MADONNA
WITH THE LONG NECK,
FROM THE BAIARDI
CHAPEL, SANTA MARIA DEI
SERVI, PARMA, 1534–1540.
OIL ON WOOD, 7'1"X 4'4".
UFFIZI.
ELEGANCE
UNNATURALLY LONG NECK,
HAND, BABY, ANGEL LEG
PERSPECTIVE DISCARDED
BRONZINO, VENUS,
CUPID, FOLLY, AND
TIME, © 1546. OIL ON
WOOD, 5'1"X 4'8 ¼".
NATIONAL GALLERY,
LONDON.
PATRON?
COSIMO I DE' MEDICI
AS A GIFT FOR
ANOTHER MAN
(FRANCIS I, FRANCE)
TOTALLY UNNATURAL
AS WELL AS
LASCIVIOUS
"MEANING
AMBIGUOUS"
TINTORETTO, LAST SUPPER, 1594. OIL ON CANVAS, 12' X 18'
8'. SAN GIORGIO MAGGIORE, VENICE.
CHRIST IN THE HOUSE OF LEVI, FROM THE REFECTORY OF
SANTI GIOVANNI E PAOLO, VENICE, 1573. OIL ON CANVAS,
18'3"X 42’. GALLERIA DELL’ACCADEMIA, VENICE.
ORIGINALLY TITLED THE LAST SUPPER. A VERY RICH,
STYLISH, MERRY LAST SUPPER!
DETAIL, HOUSE OF LEVI: DWARF JESTER AND
"BLACKAMOOR" ENTERTAINERS – NOT EXACTLY THE
RIGHT MESSAGE FOR THE COUNTER-REFORMATION
DOGS, DWARF, FAT RICH LORD, ETC.
PAOLO VERONESE,
TRIUMPH OF VENICE,
© 1585. OIL ON CANVAS,
29'8" X 19'. CEILING OF
THE HALL OF THE
GRAND COUNCIL,
DOGE’S PALACE,
VENICE.
AWARENESS OF VIEWER!
45o PROJECTION
BRONZINO,
PORTRAIT OF A
YOUNG MAN, © 1530–
1545. OIL ON WOOD,
3' ½" X 2' 5 ½". MET.
AND SOME MAYBE NOT MANNERIST
PAINTERS . . .
WOMAN ARTIST: SOPHONSIBA ANGUISSOLA
PORTRAIT OF THE ARTIST'S SISTERS AND BROTHER © 1555.
OIL ON PANEL, 2' 5 ¼" X 3' 1 ½". CORSHAM COURT,
WILSHIRE
WHAT STYLE?
ANGUISSOLA, SELF
PORTRAIT, 1554. OIL
ON CANVAS, 19.5 X
12.5 CM.
KUNSTHISTORISCHES
MUSEUM, VIENNA
ANGUISSOLA,
PRADO PHILIP II, ©
1570. OIL ON
CANVAS, 88 X 72
CM. MUSEO DEL
PRADO, MADRID,
SPAIN
ANGUISSOLA WAS
COURT PAINTER TO
PHILIP II
ANGUISSOLA,
ELISABETH OF
VALOIS © 1599.
(DAMAGED) OIL ON
CANVAS, 68 × 54 CM.
KUNSTHISTORISCHE
S MUSEUM, VIENNA.
ANGUISSOLA, SELF
PORTRAIT, 1610
CORREGIO,
ASSUMPTION OF THE
VIRGIN, CEILING OF
PARMA CATHEDRAL,
1526-30. FRESCO.
35' 10" X 27' 11".
RENAISSANCE,
MANNERIST, EARLY
BAROQUE?
CORREGIO, IO AND ZEUS, ©
1530. OIL ON CANVAS,
163.5 × 70.5 CM.
KUNSTHISTORISCHES MUSEUM.
ZEUS – INVISIBLE
SCULPTURE
SPECIFIC GOALS:
 NOTE DISTINCTIVE ELEMENTS IN MANNERIST
SCULPTURE, ESPECIALLY GROTESQUERIES AND
REVIVAL OF FIGURA SERPENTINATA
 IDENTIFY THE MANNERIST SCULPTORS AND
THEIR MAJOR WORKS
BENVENUTTO CELLINI, SALTCELLAR OF FRANCIS I, 15401543. GOLD, ENAMEL, AND EBONY, 10 ¼" X 1' 1' 1/8".
KUNSTHISOTRISCHES MUSEUM.
CELLINI, PERSEUS WITH
THE HEAD OF MEDUSA,
1554-55. BRONZE, 18'
HIGH. LOGGIA DEI
LANZI, PIAZZA DELLA
SIGNORIA, FLORENCE.
GROTESQUE THEMES
ALSO
CHARACTERISTICALLY
MANNERIST
GIOVANNI DA BOLOGNA,
ABDUCTION OF THE SABINE
WOMEN (OR WHATEVER!),
LOGGIA DEI LANZI, PIAZZA
DELLA SIGNORIA, FLORENCE,
ITALY, 1579–1583. MARBLE, 13'5
½" HIGH.
FIGURATA SERPENTINA (DUE
TO REDISCOVERY (OR
MICHELANGELO SCULPTING)
THE LAOCÖON).
FIRST LARGE-SCALE 360o
SCUPTURE SINCE ANTIQUITY