Early Italian Renaissance

Early Italian Renaissance

Outline

•  Background/History of Style •  Characteristics •  Essential Elements •  Floor & Wall Treatments •  Color •  Soft furnishing & Accessories,

Ornaments •  Fabrics •  Furniture

Time and Place: The Renaissance (Italian: Rinascimento, from ri-‐ "again" and nascere

"be born") was a cultural movement that spanned roughly from the 14th to the 17th century, beginning in Florence in the Late Middle Ages and later spreading to the rest of Europe.

•  App 1400 – 1700AD •  Italy -‐ In the middle ages, was composed of different city-‐states

and fiefdoms eg Florence, Venice, Milan, Mantua. Florence – is considered as the birthplace of the Renaissance In Florence, the wealthy wool merchants and bankers sought presQge

and status through their patronage of arts and leRers, and architects and arQsts displayed their support through their development of new forms in painQng, sculpture and architecture.

Background/History of Style

What was the Renaissance?

The intellectual transformaQon that happened during the Renaissance has resulted with this period being viewed as a bridge between the Middle Ages and the

Modern era.


•  As a cultural movement, it encompassed a resurgence of learning based on:

•  classical sources •  the development of linear perspecQve in

painQng •  gradual but widespread educaQonal

reform.

•  Although the Renaissance saw revoluQons in many intellectual pursuits, as well as social and poliQcal upheaval, it is perhaps best known for its arQsQc developments and the contribuQons of such polymaths as Leonardo da Vinci and Michelangelo, who inspired the term "Renaissance man“.


Access to the Classical Texts and the Teaching of HumaniQes •  The key to a new vision of human life and

therefore of architecture came from the scholars’ access to the classical texts.

•  InternaQonal trading exchanges had helped to disseminate ideas, and a group of teachers of the humaniQes (grammar, rhetoric, history and philosophy) who acquired the name of Humanists, played a crucial part in their propagaQon.

•  These texts, including eventually about architecture were spread through developments in prinQng. (Gutenberg invented the movable type in 1450)

The Duke of Urbino. The Duke collected one of the finest libraries in Italy,

employing it is said, thirty or forty scribes for fourteen years to copy the great

classical and modern texts.


Humanism and the Renaissance •  Humanism was a new world view. It celebrated raQonality and mankind’s

ability to make and act upon empirical observaQons of the physical world. •  Humanist scholars and arQsts recovered classical Greek and Roman texts

and aspired to create a modern world rivalling that of the ancients. One of the most important was Vitruvius’ text on architecture which had been re discovered in Switzerland.

•  Rather than train professionals in jargon and strict pracQce, humanists sought to create a ciQzenry (including, someQmes, women) able to speak and write with eloquence and clarity. Thus, they would be capable of beRer engaging the civic life of their communiQes and persuading others to virtuous and prudent acQons.

•  This was to be accomplished through the study of the studia humanitaGs, today known as the humaniQes: grammar, rhetoric, history, poetry and moral philosophy.


Vitruvius’ Ten Books of Architecture •  In 1487 the ancient text of Vitruvius was one

of the first books printed. The impact of prinQng was tremendous.

•  The architectural theorists of the revived anQque style – AlberQ, Serlio, Francesco de Giorgio, Palladio, Vignola, Guilio Romano – all wrote treaQses that owed something to Vitruvius. These men were no longer master masons, however brilliant, they were scholars.

•  Architecture was no longer the conQnuaQon of a pracQcal tradiQon, handed on through mason’s lodges; it was a literary idea. The architect was not just pubng up a building; he was following a theory.


De Architectura ("On Architecture") Marcus Vitruvius Pollio (born c. 80–70 BC, died aeer c. 15 BC) was a Roman writer, architect and engineer, acQve in the 1st century BC. He is best known as the author of the mulQ-‐volume work De Architectura ("On Architecture"). Vitruvius is famous for asserQng in his book De architectura that a structure must exhibit the three qualiQes of firmitas, uGlitas, venustas – that is, it must be solid, useful, beauQful. These are someQmes termed the Vitruvian virtues or the Vitruvian Triad.


The Vitruvian Man •  Rather than using the complex, geometric

transformaQons of medieval master masons, Renaissance architects favoured simple forms such as the square and the circle.

•  They made drawings of the human figure inscribed within the basic outline of the circle and the square, thereby demonstraQng that the human proporQons reflected divine raQos.

LeJ: The Vitruvian Man by Leonardo da Vinci an illustraQon of the human body inscribed in the circle and the square derived from a passage about geometry and human proporQons in Vitruvius' wriQngs


Brunelleschi’s Discovery of Perspective Filippo Brunelleschi (1377-‐1446) A FlorenQne goldsmith, Brunelleschi moved to Rome and visited the ancient ruins. Brunelleschi codified the principles of geometrically accurate linear perspecQve, making possible the exact representaQon of a 3-‐dimensional object on a 2-‐dimensional surface. In making careful drawings of such repeQQve elements as the arches of aqueducts, he realized that parallel horizontal lines converge at a point on the horizon and that elements of like size diminish proporQonally in the distance. This discovery had a profound effect of art, architecture and civic design during and aeer the Renaissance.


Among the cultures of the ancient world, only the Greeks and the Romans had spacial depth in art figured out. That is to say, they understood how to create an image with convincing depth and a painted or sculpted illusion of 3 dimensional space.

“TheTrinity,” Masaccio (1427-‐28)

Brunelleschi observed that with a fixed single point of view, parallel lines appear to converge at a single point in the distance. Brunelleschi a p p l i e d a s i n g l e vanishing point to a canvas, and discovered a method for calculaQng depth.


Other Developments:

•  Gunpowder changed the nature of warfare and therefore relaQons among naQons.

•  The invenQon of the compass and the development of new techniques in shipbuilding made it possible to expand the limits of the known world into China, the East Indies, India and America.

•  Banking, no longer frowned upon by the Church, began to play a central role in society.

•  The hereditary nobles of feudal Qmes were ousted by a new class of merchant princes – the Medici, the Strozzi, the Rucellai, the Pib – whose commercial empires spread throughout Europe.

•  Merchant princes and the arQsts to whom they extended financial patronage became the new universal men of the Renaissance.


The Periods of the Renaissance:

•  Early Renaissance ca. 1400-‐1500 Brunelleschi, AlberQ

•  High Renaissance ca. 1500-‐1525 Bramante

•  Late Renaissance

ca. 1525-‐1600 Palladio


•  Renaissance architecture tends to feature planar classicism (i.e. “flat classicism”). In other words, the walls of a Renaissance building (both exterior and interior) are embellished with classical moQfs (e.g. columns, pediments, blind arches) of minor physical depth, such that they intrude minimally on the two-‐dimensional appearance of the walls. Put another way, the walls of a Renaissance building serve as flat canvases for a classical veneer. This contrasts sharply with Baroque architecture, in which walls are deeply curved and sculpted (“sculpted classicism”).

•  Planar classicism also tends to divide a wall into neat secQons, with such elements as columns, pilasters, and stringcourses. (A stringcourse is a thin, horizontal strip of material that runs along the exterior of a building, oeen to mark the division between stories.) A Baroque wall, on the other hand, is treated as a conQnuous, undulaQng whole.

•  The foremost Renaissance building types were the church, palazzo (urban mansion), and villa (country mansion). While various great names are associated with Renaissance church and palazzo design, the most famous villa architect by far is Palladio. In England, large residences were called Elizabethan country houses. In France they were called chateaus.

Renaissance Architecture

Renaissance style places emphasis on symmetry, proporQon, geometry and the regularity of parts as they are demonstrated in

the architecture of classical anQquity and in parQcular ancient Roman architecture, of which many

examples remained.

Renaissance Architecture

•  Inspired by Roman buildings, orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular arches hemispherical domes, niches and aedicules replaced the more complex proporQonal systems and irregular profiles of medieval buildings.

•  Plans -‐ square, symmetrical appearance in which proporQons are usually based on a module

•  Facades -‐ symmetrical around their verQcal axis, domesQc buildings are oeen surmounted by a cornice

•  Columns and pilasters -‐ the Roman orders of columns are used: Tuscan, Doric, Ionic, Corinthian and Composite

•  Arches – semi circular •  Vaults – do not have ribs •  Domes -‐ the dome is used frequently, both as a very large structural feature that is

visible from the exterior

Characteristics

Inspired by Roman buildings, orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular arches hemispherical domes, niches and aedicules replaced the more

complex proporQonal systems and irregular profiles of medieval buildings.

Interior courtyard of the Palazzo Farnese, Rome, by Antonio da Sangallo the Younger

and Michelangelo, 1517–89.

Palazzo Massimo Alle Colonne Rome, 1532-‐36

Characteristics

Plans -‐ square, symmetrical appearance in which proporQons are usually based on a module

The Basilica di Santa Maria del Fiore or the

Florence Cathedral

Plan of Chateau de Chamborg, France 1519-‐1527

Characteristics

Facades -‐ symmetrical around their verQcal axis, domesQc buildings are oeen surmounted by a cornice. Below: Palladian Villas

Characteristics

CharacterisQcs of Elements: •  Ceilings -‐ roofs are fiRed with flat or coffered ceilings, frequently painted

or decorated •  Doors -‐ 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

•  Walls -‐ external walls are generally of highly finished ashlar masonry, laid in straight courses, the corners of buildings are oeen emphasised by rusQcated quoins, basements and ground floors were oeen rusQcated

•  Details -‐courses, mouldings and all decoraQve details are carved with great precision. Studying and mastering the details of the ancient Romans 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.

Essential Elements

Ceilings -‐ roofs are fiRed with flat or coffered ceilings, frequently

painted

Lee: Sant'AgosQno, Rome Giacomo di Pietrasanta, 1483

Doors -‐ 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

Essential Elements

Lee: Palazzo Medici-‐Riccardi, Michelozzo di Bartolomeo. Right: Quoining on the corners of Palazzo Aragona Gonzaga, Rome.

Walls -‐ external walls are generally of highly finished ashlar masonry, laid in straight courses, the corners of buildings are oeen emphasised by rusQcated quoins, basements and ground floors were oeen rusQcated

Essential Elements

RusQcaQon A popular decoraQve

treatment of the Renaissance palazzo was rusPcaPon, in which a masonry wall is textured rather than smooth.

This can entail leaving

grooves in the joints between smooth blocks, using roughly dressed blocks, or using blocks that have been deliberately textured. The rusQcaQon of a Renaissance palazzo is oeen differenQated between stories.

Floor & Wall Treatment

Planked or parquet hardwood, marble and terracoRa Qles are frequently used in Italian Renaissance floors. Area rugs add cozy comfort to wood, marble or Qle floors. Wall-‐to-‐wall carpet is seldom seen in this style of home. Marble counter tops, fireplace mantels and columns enhance the Italian Renaissance ambiance. Scagliola is a less expensive subsQtute for natural marble. VeneQan plaster, a decoraQve stucco, adds texture to walls.

Floor & Wall Treatment

Details -‐courses, mouldings and all decoraQve details are carved with great precision. Studying and mastering the details of the ancient Romans 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.

Color | Soft Furnishing & Accessories

Artworks in tapestries, frescoes and framed painQngs provide much of the color in Renaissance interiors, as well as drapery and upholstery texQles.

Walls are made from plaster, and not given to hold paint as seen in contemporary Qmes. The interiors, though, are colorful; red, blue and

yellow in their primary shades are prominent with purple and green used throughout in darker hues.

Ornaments

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INLAY ORNAMENT FROM CHOIR STALLS OF CERTOSA (15TH CENTURY)

INLAY ORNAMENT FROM CHOIR STALLS OF CERTOSA (15TH CENTURY)

Ornaments

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PANEL ORNAMENT FROM BALCONY OF PALAZZO CANCELLERIA – ROME WORK OF THE 15TH CENTURY

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Fabric | Textile Silk, velvet, linen and wool are used for bedding, upholstery and drapery, as well as for wall hangings. Drapery is ceiling to floor in length and oeen in a damask or brocade. Tapestries play an important role in interiors not only as visually pleasing works of art, but as a means of telling stories, such as hunts, poliQcal events and religious parables. The heavy tapestries may also have served as an insulaQng element in the large, airy rooms of the wealthy.

Furniture •  ecclesiasQc and Roman influence, and some Gothic Influence was sQll present. •  One of the most important features: massive and highly decorated •  The most common woods used for furniture: walnut, pine, cypress, chestnut, elm

and poplar •  were decorated with marquetry and inlays of ivory, stones, ebony, and grotesque carvings

•  The use of columns, common in Greek and Roman buildings were now being used in furniture design.

Relief ornament using carving was the most common way to embellish the furniture during the 16th century. PasQglia and certosina also became very popular in this period. Aeer the 15th century, turning became very popular and had a highly decoraQve value in the Italian Renaissance furniture. Finials, bedposts and some furniture legs were oeen turned. During the Renaissance, the chair, once a symbol of status and power underwent a process of democraQzaQon, and now became accessible to anyone.

Furniture

Dante Chair

Sgabello Chair

The X-‐chairs, derived from the Roman curule and was the most common piece of furniture. It was made of two pairs of short beans intersecQng at a central joint and linked to a stretcher. These chairs were known as the savonarola chairs. Oeen upholstered in velvet or leather, light weighted and portable. Other famous seaQng was the the Sgabello chair, with a octagonal seat over a solid trestle support and a tall back.

The cassapanca, was a combinaQon of chest and seats. Solid, massive and rectangular this piece was oeen mounted in a dais. The hinged lid served as the seats. The most important piece used for storage during the Italian Renaissance was the cassone. It was also know as the marriage chest. The side panels were usually covered with colored or gilded gesso built into reliefs, classical figures and scenes. It was also common to be painted by a fine arQst or carved.

Furniture

Furniture

The credenza, a rectangular movable storage also became an important piece of furniture. It oeen had a oblong top over a frieze, and two or three drawers, over two or three doors. An famous item found inside most of Italian houses was the long, rectangular table. Massive and highly decorated, with a long stretcher between the end supports. They also has center tables, with round, hexagonal or octagonal tops. The bases were usually columnar, baluster or pedestal. They were used in the center of the room, or in occasional events.

The bed, also known as leRo, was in a rectangular form with paneled head and footboards. They used texQle treatments in their beds to protect people against insects and cold weather. The Italian Renaissance furniture were decorated with care, they paid extreme aRenQon to details. ProporQon was perfect and the classical purity was clearly reflected in the details.

Furniture

The Architects of the Renaissance

•  Filippo Brunelleschi (1377 –1446) • Michelozzo di Bartolomeo

(1396-‐1472) •  Leon Babsta AlberQ( 1404-‐1472) •  Donato Bramante (1444 –1514) • Michelangelo Buonarob (1475 –

1564)

Filippo Brunelleschi

Filippo Brunelleschi (1377 1446) was one of the foremost architects and engineers of the Italian Renaissance. He is perhaps most famous for his

discovery of perspecQve and for engineering the dome of the Florence Cathedral, but his accomplishments also

include other architectural works, sculpture, mathemaQcs, engineering and even ship design. His

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

Filippo Brunelleschi The Florence Cathedral dome (1436) by Filippo Brunelleschi

•  Brunelleschi drew upon his knowledge of ancient Roman construcQon as well as lingering Gothic tradiQons to produce an innovaQve synthesis.

•  Employed the Gothic pointed arch cross secQon instead of a semi circular one

•  To reduce dead load, he created a double shell as was done in the Pantheon

•  Employed 24 verQcal ribs and 5 horizontal rings of sandstone, as observed in the ruins of Roman construcQon

•  The cupola on top was a temple of masonry acQng as a weight on top of the dome.

•  Designed special machines for construcQon.

The Foundling Hospital, 1421-1444

by Filippo Brunelleschi

The Foundling Hospital is oeen considered as the first building of the

Renaissance.


• Featured a conQnuous arcade • At the hospital the arcading is three dimensional, creaQng 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.

LeQ:

Pazzi Chapel, 1460 The facade was inspired by the Roman triumphal arch.

Right:

San Lorenzo, Florence, (1430-‐33)

This church is seen as one of the milestones of

Renaissance architecture, with pietra serena or dark

stone arPculaPon.


The Basilica of Santa Maria del Santo Spirito

("St. Mary of the Holy Spirit"), 1481

San Spirito, begun 1445. The plan played on the configuraQons of the square. The current church was constructed over the pre-‐exisQng ruins of an AugusQnian priory from the 13th century, destroyed by a fire.


Michelozzo di Bartolomeo

(1396-‐1472) Italian architect and

sculptor.

The Palazzo Medici is a Renaissance palace located in Florence.

•  Bartolomeo was a student of Brunelleschi. •  The Palazzo was influenced by the Foundling

Hospital. •  Used the arcaded courtyard of the hospital.

Michelozzo di Bartolomeo

The Palazzo Medici, Florence 1444

• RusQcaQon-‐ stone blocks with deeply recessed chamfered joints • Had three Qers of graduated textures, beginning with rock-‐faced stone at the street level and concluding with smooth ashlar at the third level below a 10-‐e high cornice with modillions, egg and dart moldings and a denQl course. • It was the first such cornice since ancient Qmes. • The building reflected Renaissance ideals of symmetry, the use of classical elements and careful use of mathemaQcal proporQons.

Leon Babsta AlberQ (1404-‐1472)

AlberP was an Italian author, arQst, architect, poet, priest, linguist,

philosopher, cryptographer and general Renaissance humanist polymath.

The Palazzo Rucellai (1446-‐1451) was the first building to use the classical orders on a Renaissance domesQc building.

Leon Battista Alberti

Leon Babsta AlberQ (1404-‐1472)

San Maria Novella was the first

completed design for a church facade

in the Renaissance. AlberQ linked the lower aisle roof to the pedimented higher nave with flanking

scrolls.


Basilica of Sant'Andrea, (1472-‐94) The Basilica of Sant'Andrea is

in Mantua, Lombardy, Italy. It is one of the major works of 15th century Renaissance architecture in Northern Italy. Commissioned by Ludovico II Gonzaga, the church was begun in 1462 according to designs by Leon Babsta AlberQ on a site occupied by a BenedicQne monastery, of which the bell tower (1414) remains. The building, however, was finished only 328 years later.

The facade of S. Andrea, Mantua,

(1472-‐94) is a synthesis of the triumphal arch and the temple.


Interior, S. Andrea, Mantua

The assemblage of

classical elements on the interior presents the

first Renaissance vision rivalling

the monumentalit

y of the interior spaces of such ancient Roman ruins as the basilicas or

baths.


Donato Bramante

(1444 –1514) 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 TempieRo (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.

San Maria presso San SaQro (1482-‐92),

For the church of San Maria presso San SaQro (1482-‐92), a street prevented Bramante from adding a convenQonal choir. He created a low relief that when viewed on axis, has the convincing appearance of a barrel vaulted choir. Using the illusionisQc potenQal of linear perspecQve , he created what must be the ulQmate use of this device in 15th c architecture.

Donato Bramante

The TempieRo, Rome (begun 1502)

•  Built for King Ferdinand and Queen Isabella of Spain

•  The erecQon 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 ChrisQan reverence for tradiQon, 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 connecQng the current authority of the Pope to the grandeur of anQquity.

Donato Bramante

Bramante’s scheme represented a building on the scale of the Baths of DiocleQan capped by a dome comparable to that of the Pantheon. Started in April 1506. By the Qme the church was completed in nearly

150 years later, almost every major architect of the 16th and 17th c had been engaged.

St. Peter’s Basilica, Rome, (1505)

Donato Bramante

Michelangelo Buonarob

(1475 – 1564) Michelangelo di Lodovico BuonarroP Simoni commonly known as Michelangelo was an Italian Renaissance sculptor, painter, architect, poet, and engineer who exerted an unparalleled

influence on the development ofWestern art. Despite making few forays beyond the arts, his versaQlity in the disciplines he took up was of such a high order that he is oeen considered a contender for the Qtle of the archetypal Renaissance man, along with fellow

Italian Leonardo da Vinci.

The Palazzo Farnese

The Palazzo Farnese facade has a cornice and central window with coat of arms at the piano nobile level. Unlike the FlorenQne interpretaQon of the type, this palazzo has rusQcaQon only in the form of quoins and at the entry has classically inspired window surrounds.

The Medici Chapels are two structures at the Basilica of San Lorenzo, Florence, Italy, daQng from the 16th and 17th centuries, and built as extensions to Brunelleschi's 15th century church, with the purpose of celebraQng the Medici family, patrons of the church and Grand Dukes of Tuscany. The Sagres,a Nuova, ("New Sacristy"), was designed by Michelangelo.

Material: white stucco walls with gray pietra marble.

St. Peter’s Basilica by Michelangelo, Donato Bramante, Giacomo della Porta and Carlo Maderno.

Michelangelo’s dome for St Peter’s basilica has a hemispherical form. Della Porta, who constructed the dome aeer Michelangelo’s death, employed a taller profile in order to decrease the lateral thrust and use the lantern cupola to force the weight of the dome towards the drum.

Papal Basilica of Saint Peter has the largest interior of any ChrisQan church in the world

Sources

•  hRp://derosadesign.blogspot.com/2012/03/furniture-‐in-‐history-‐italian.html

•  hRp://www.ehow.com/info_8230886_italian-‐renaissance-‐interior-‐design.html#ixzz2shuSjvWc

•  hRp://www.ehow.com/info_8461371_construcQon-‐used-‐italian-‐renaissance-‐homes.html