ITALIAN RENAISSANCE ARCHITECTURE
ITALIAN RENAISSANCE ARCHITECTURE
I. INTRODUCTION
The architects of the Renaissance had the same interest in Roman ruins as
the painters and sculptors of the Renaissance. They too incorporated the
work of classical antiquity, humanist outlook and Christianity to create new
forms to express their re-born world.
The most influential architects of the Italian Renaissance and Mannerist
periods were: Brunelleschi, Alberti, Bramante, Michelangelo, and Palladio
1. BRUNELLESCHI
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After losing the Combattimento to Ghiberti, Brunelleschi left
for Rome
Discovered the rules for linear perspective while studying in
Rome
Brunelleschi became an important architect and DESIGNED
THE DOME OF FLORENCE CATHEDRAL
o Considered an impossible feat because gap was too
large to cover. No trees were big enough to create a
scaffolding to support the dome as it was built.
Brunelleschi devised new building methods.
 New design with ogival (pointed) section. Not as
much outward thrust.
 Thin double walled dome (the first!) to reduce
weight.
 24 ribbed skeleton between walls
 Anchored structure with heavy lantern on top.
 Developed new tools and techniques to build the
dome. Very hands on.
o Final dome is pointed and has a Gothic feel. Mr. F.
thinks Brunelleschi would have wanted a round dome if
it was technically feasible.
He designed the Foundling Hospital in Florence based on
simple mathematical proportions. Columns are as tall as the
space between them. Reinforced the horizontal with
entablatures.
Santo Spirito had similar rationality behind it. On top of the
capitals of the nave columns are sections of entablature that
visually create a (broken) horizontal line to complement the
arches.
o Nave is twice as high as it is wide.
o Arcade and clerestory are same height.
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ITALIAN RENAISSANCE ARCHITECTURE
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o Décor is austere to show rationality of the structure and
provide tranquil atmosphere.
o Designed no space for frescoes or any other interruption
o Very much the opposite of a Gothic sensibility.
o Notice how the façade is stuck on almost as an afterthought that is typical of Italian churches.
Pazzi Chapel off of Santa Croce, Florence, mid 15th C.
o Donated as a meeting hall (chapter house) for monks.
o Central plan on a rectangle rather than square.
o Stressed design through colored stone to trace interior
of structure.
o Medallions by Lucca della Robbia: developed new
technique for glazing terra cotta and was all the rage
for many generations.
2. Michelozzo di Bartolommeo
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Palazzo Medici-Riccardi, Florence, begun 1445
o Brunelleschi’s plan for a palace for the Medici returning
from exile was rejected because their political position was
tenuous and the design was too imposing and ostentatious.
The design might incite hostility from the populace.
Brunelleschi destroyed the model.
o Michelozzo’s design owes much to Brunelleschi:
 Rational proportions
 Horizontal emphasis
 Stones go from rusticated to smoother on 2nd and 3rd
floor, making it appear lighter.
 Heavy cornice is a lid on the structure defining the
shape and volume
 Interior arcaded courtyard was a frequently copied
feature in subsequent buildings.
3. Leon Battista ALBERTI
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Important architect of the Renaissance and well rounded man
Studied Vitruvius’ ancient Roman treatise on architecture
Understood the principles of linear perspective and wrote
about them as well as his thoughts on architecture, On the Art
of Building.
Preferred the central plan for Christian church.
Thought arch should not be supported by column, only piers.
Believed that numerical ratios were the source of beauty (as
did Brunellischi).
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ITALIAN RENAISSANCE ARCHITECTURE
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Renaissance artists read Alberti’s book and experimented with
it for themselves
In Florence
 Rucellai family made fortune from red dye. Hired Alberti to
design his new palace and façade for his church.
 Alberti previously wrote treatises “On Painting” and “On
Architecture.” “On Architecture” was based on Vitruvius’s
writings (Roman architect) for classical basis (like a good
Renaissance artwork should).
 Palazzo Rucellai
o broken into three equal horizontal entablatures.
o From Roman Colosseum he used Tuscan pilasters for
ground floor, Ionic columns for second floor, and
Corinthian columns on third floor. Why is this like the
Colosseum?
o Round, Roman arches on 2nd and 3rd floor.
 Santa Maria Novella
o Created mathematically proportional, harmonious design
o Divided church façade in three squares
o 2 lower squares frame classical portal (pilasters and round
arch)
o 2nd story has 3rd square that supports a pediment.
o Height = width of façade so it fits exactly in a square.
In Mantua
 Marquis Gonzaga lured Alberti to Mantua to design Sant’
Andrea church
 He wanted Mantua to be a center of Renaissance art and
culture too.
 Façade combined classical temple portico with Roman
triumphal arch.
 No statues or other Gothic features.
 Pilasters go straight up 3 stories to support pediment
 Alberti did not like columns in nave – blocked congregants’
view. Replaced columned arcade in nave with a barrel-vaulted
nave. Perhaps inspired by Constantine’s Basilica Nova. (Mr.
F. thinks arch on top of pediment looks funny but was
probably necessary to let in light).
 Decisive break with Christian building traditions. Christian
temple combined classical forms with Christian uses. Strong
influence on Renaissance and Baroque churches.
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ITALIAN RENAISSANCE ARCHITECTURE
4. Donato d’Angelo BRAMANTE (1444 – 1514)
 Worked in Milan as a painter then architect until invaded by
French in 1499 (and like Leonardo) went to Rome.
 First notable work is the Tempietto.
o “Little Temple” on the Janiculum hill overlooking the
Vatican.
o Inspired by circular temples of ancient Rome (tholos: an
import from the Greeks).
o Supposed location of Peter’s crucifixion.
o Commissioned by King Ferdinand and Queen Isabella of
Spain.
o Now inside a rectangular cloister but was designed by
Bramante to be in a circular colonnaded courtyard.
o Classical tholoi had neither drum nor balaustrade.
o NOTE: a main difference between Early and High
Renaissance is that Early emphasized detailing of
flat walls, while High worked with sculptural
architectural masses. Tempietto initiated the High
Renaissance for architecture.
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First of the architects who started work on the New Saint Peter’s
Church in Rome.
o Julius II needed a bigger church and the original St. Peter’s
was in disrepair. Julius II wanted something very
impressive to go with his plans to control the entire Italian
peninsula. Rome of the popes should be more magnificent
than the Rome of the Caesars.
o Designed a central plan with a cross with arms of equal
length covered by a dome. Each arm terminates in an apse.
o Gigantic in size with hemispherical domes.
o Intricate design with interlocking crosses and domes.
o Bramante died in 1514 and several architects worked on
the project. In 1546 Michelangelo became the architect.
He completed the church largely based on Bramante’s
design.
Speaking of Michelangelo…
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Palazzo Farnese, Rome, Italy:
o 1517 – 1546 Antonio da Sangallo the Younger was
the architect
o 1546 – 1550 Michelangelo was the architect
Was a relatively modest palace whose owner was elevated
to pope (Paul III) and then decided he needed something
more grand.
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ITALIAN RENAISSANCE ARCHITECTURE
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Princely dignity in the style of Bramante: alternating
triangular with segmental pediments.
In High Renaissance fashion the windows on outside and in
courtyard project to give a flat wall mass and volume.
Interior courtyard has a pierced arcade on the ground floor
with the arch theme becoming less pronounced as the floors
go up.
o Notice how the orders change on each floor.
More Michelangelo architecture in the Mannerist period.
1. Andrea PALLADIO (1508 – 1580)
 Chief architect of the Venetian Republic from 1570 – 80
o Venice was in decline in the 16th century due to shift of trade to the
western countries (due to discovery of New World); Military
attack from an ascendant Ottoman Empire in the east; Military
attack from other European states and city-states.
o Venice developed its own independent and influential school of
artists.
 Schooled in classical tradition of Alberti and Bramante.
 Stonemason turned architect at age 30.
 Illustrated an edition of a Vitruvius work on architecture
 Wrote his own treatise on architecture, The Four Books of
Architecture
o Was a very influential book for generations in Europe.
o Most significantly in England and colonial America
o Thomas Jefferson modeled Monticello (his Virginia plantation)
on Palladio’s work.
 Built his reputation on his designs for villas.
o Venice was congested
o Venice was a bit precarious politically and militarily
o Villa on Venetian mainland was a good countryside retreat.
o Villas were also turned into working farms so that the
aristocrats would have a fallback position in case Venice’s
fortunes collapsed.
 He believed buildings should extend symmetrically around a central
axis and that rooms should relate to each other with simple ratios.
 Villa Rotunda, near Vincenza, Italy, 1550 – 1570
o Built on a hilltop for social events
o Landscape view was considered a valuable amenity
o Because it was not meant as a gentleman farm, there are no
secondary wings.
o Central plan with four identical facades and projecting
porches which look like Roman Ionic temples.
o Modeled on the Pantheon.
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o Porches oriented to cardinal directions and used to take in
different views.
o Central domed rotunda acts as a circular platform to take in
any of the four views.
San Giorgio Maggiore, Venice, begun 1566
o New approach to integrating high nave and wide, low aisles of
churches.
o Have two facades interposed. One tall and narrow in front of a
shorter, wider façade.
o Intersection is logical but looks irrational/ambiguous---in
keeping with new Mannerist way of breaking rules that were
increasingly seen as stifling.
o Interior is in High Renaissance style with rational sculpted
masses. Mr. F. thinks the way the engaged column intersects
with the entablature is awkward.
Il Redentore (the Redeemer), Venice, begun 1577
o Same approach to façade as San Giorgio Maggiore
o Built in thanks for delivering Venice from plague.
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