ARCHITECTUREARCHITECTURE

SPECIFIC GOALS:SPECIFIC GOALS:

GIVE EXAMPLES OF MAJOR ARCHITECTURAL GIVE EXAMPLES OF MAJOR ARCHITECTURAL PROJECTS UNDERTAKEN IN ITALY (MOSTLY ROME PROJECTS UNDERTAKEN IN ITALY (MOSTLY ROME AND VENICE).AND VENICE).

NOTE THE SCULPTURAL ASPECTS OF NOTE THE SCULPTURAL ASPECTS OF RENAISSANCE ARCHITECTURERENAISSANCE ARCHITECTURE

IDENTIFY IMPORTANT ARCHITECTS AND THE IDENTIFY IMPORTANT ARCHITECTS AND THE DISTINCTIVE ELEMENTS OF THEIR STYLESDISTINCTIVE ELEMENTS OF THEIR STYLES

IDENTIFY THEORIES AND ELEMENTS OF IDENTIFY THEORIES AND ELEMENTS OF RENAISSANCE ARCHITECTURE THAT INFLUENCE RENAISSANCE ARCHITECTURE THAT INFLUENCE MODERN ARCHITECTURE MODERN ARCHITECTURE

BRAMANTEBRAMANTE

CREATED INNOVATIVE CENTRAL-PLAN CREATED INNOVATIVE CENTRAL-PLAN DESIGNS BASED MOSTLY ON CLASSICAL DESIGNS BASED MOSTLY ON CLASSICAL SOURCES (INFLUENCE OF GREEK THOLOI AND SOURCES (INFLUENCE OF GREEK THOLOI AND ROMAN CIRCULAR TEMPLES), AND FIRST ROMAN CIRCULAR TEMPLES), AND FIRST ARCHITECT OF NEW SAINT PETER’S.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 CLASSICAL ROMAN CIRCULAR TEMPLES HAD MORE OBVIOUS FRONTAL ORIENTATIONMORE OBVIOUS FRONTAL ORIENTATION

PANTHEON, PANTHEON, © © 118-125 118-125TEMPLE OF TEMPLE OF VESTA, TIVOLI, VESTA, TIVOLI, EARLY 1EARLY 1STST CENTURY B.C.E.CENTURY B.C.E.

TEMPIETTO PLANTEMPIETTO PLAN

TEMPIETTO: TUSCAN TEMPIETTO: TUSCAN COLUMNS AND DORIC COLUMNS AND DORIC FRIEZE (TRIGLYPHS FRIEZE (TRIGLYPHS AND METOPES)AND METOPES)

TEMPIETTO: BALUSTRADE, AND DRUM TEMPIETTO: BALUSTRADE, AND DRUM (ALTERNATING RECTANGULAR “WINDOWS” (ALTERNATING RECTANGULAR “WINDOWS” AND SHELL-CAPPED NICHES – LIGHT AND AND SHELL-CAPPED NICHES – LIGHT AND SHADOW!SHADOW!

BRAMANTE, PLAN FOR NEW SAINT PETER’S: BRAMANTE, PLAN FOR NEW SAINT PETER’S: RECALL THE EARLY RENAISSANCE ARCHITECTS' RECALL THE EARLY RENAISSANCE ARCHITECTS' DESIRE TO FUSE CENTRAL AND AXIAL PLANS DESIRE TO FUSE CENTRAL AND AXIAL PLANS

MICHELANGELOMICHELANGELO

CHRISTOFORO FOPPA CARADOSSO, MEDAL SHOWING CHRISTOFORO FOPPA CARADOSSO, MEDAL SHOWING BRAMANTE’S DESIGN FOR THE NEW SAINT PETER’S, BRAMANTE’S DESIGN FOR THE NEW SAINT PETER’S, 1506. BRONZE, 2 1/4” DIAMETER. BRITISH MUSEUM1506. BRONZE, 2 1/4” DIAMETER. BRITISH MUSEUM

MICHELANGELO’S MICHELANGELO’S PLAN FOR NEW PLAN FOR NEW SAINT PETER’S, SAINT PETER’S, 15461546

"CULT OF THE "CULT OF THE AXIS" - RELATION AXIS" - RELATION OF BUILDING TO OF BUILDING TO HUMAN BODY HUMAN BODY

COMPARE BRAMANTE COMPARE BRAMANTE AND MICHELANGELO AND MICHELANGELO PLANSPLANS

MICHELANGELO, SAINT PETER’S (LOOKING MICHELANGELO, SAINT PETER’S (LOOKING NORTHEAST), VATICAN CITY, 1546-64. NORTHEAST), VATICAN CITY, 1546-64. SCULPTURAL! UNDULATING WALLS, UNIFYING SCULPTURAL! UNDULATING WALLS, UNIFYING COLOSSAL PILASTERS (AND WOULD HAVE HAD COLOSSAL PILASTERS (AND WOULD HAVE HAD “CALM” HEMISPHERICAL DOME)“CALM” HEMISPHERICAL DOME)

VIEW OF SAINT PETER’S FROM THE TIBER (EAST). VIEW OF SAINT PETER’S FROM THE TIBER (EAST). OGIVAL DOME BY GIACOMO DELLA PORTA. 1590. OGIVAL DOME BY GIACOMO DELLA PORTA. 1590. DOME IS APPROX. 446' HIGH (AVERAGE STOREY = 10')DOME IS APPROX. 446' HIGH (AVERAGE STOREY = 10')

ANTONIO DA SANGALLO THE YOUNGER, PALAZZO ANTONIO DA SANGALLO THE YOUNGER, PALAZZO FARNESE (LOOKING SOUTHEAST), ROME, 1517-1546; FARNESE (LOOKING SOUTHEAST), ROME, 1517-1546; COMPLETED BY MICHELANGELO, 1546-1550.COMPLETED BY MICHELANGELO, 1546-1550.

DA SANGALLO, COURTYARD OF THE PALAZZO DA SANGALLO, COURTYARD OF THE PALAZZO FARNESE, © 1517–1546. THIRD STORY AND ATTIC BY FARNESE, © 1517–1546. THIRD STORY AND ATTIC BY MICHELANGELO BUONARROTI, 1546-1550. PATRON?MICHELANGELO BUONARROTI, 1546-1550. PATRON?

A CARDINALA CARDINAL

MICHELANGELO, MICHELANGELO, PIAZZA DEL PIAZZA DEL CAMPIDOGLIO, CAMPIDOGLIO, CAPITOLINE HILL. CAPITOLINE HILL. ROME, ROME, © © 1537.1537.

"CULT OF THE "CULT OF THE AXIS"AXIS"

MICHELANGELO'S MICHELANGELO'S SOLUTION FOR SOLUTION FOR TRAPEZOIDAL, TRAPEZOIDAL, UNEVEN SPACE – UNEVEN SPACE – CREATED WHEN HE CREATED WHEN HE REVERSED REVERSED ORIENTATION TO ORIENTATION TO FOCUS ON VATICAN FOCUS ON VATICAN RATHER THAN RATHER THAN SENATESENATE

ÉTIENNE DUPÉRAC,ÉTIENNE DUPÉRAC, PIAZZA DEL CAMPIDOGLIO, PIAZZA DEL CAMPIDOGLIO, ENGRAVING, 1568. PAVING DESIGN = OVOID ENGRAVING, 1568. PAVING DESIGN = OVOID (NOT INSTALLED UNTIL 20(NOT INSTALLED UNTIL 20THTH CENTURY – CENTURY – MUSSOLINI)MUSSOLINI)

PALLADIOPALLADIO

VENETIAN ARCHITECT ANDREA DI PIETRO. VENETIAN ARCHITECT ANDREA DI PIETRO. INSPIRED BY VITRUVIUS. HIS RATIONAL, INSPIRED BY VITRUVIUS. HIS RATIONAL, SYMMETRIC VERSION OF CLASSICISM STYLE SYMMETRIC VERSION OF CLASSICISM STYLE LATER BECAME THE MODEL AND GAVE A LATER BECAME THE MODEL AND GAVE A NAME TO FOR NEO-CLASSICICAL (PALLADIAN) NAME TO FOR NEO-CLASSICICAL (PALLADIAN) ARCHITECTURE. COGNOMEN FROM ATHENA ARCHITECTURE. COGNOMEN FROM ATHENA PALLAS, GODDESS OF WISDOM. WROTE HIS PALLAS, GODDESS OF WISDOM. WROTE HIS OWN ARCHITECTURAL TREATISE, WHICH OWN ARCHITECTURAL TREATISE, WHICH PARTIALLY ACCOUNTS FOR HIS CONTINUING PARTIALLY ACCOUNTS FOR HIS CONTINUING INFLUENCE.INFLUENCE.

PALLADIO, VILLA ROTONDA (FORMERLY VILLA PALLADIO, VILLA ROTONDA (FORMERLY VILLA CAPRA), NEAR VICENZA, ITALY, © 1566–1570.CAPRA), NEAR VICENZA, ITALY, © 1566–1570.BELVEDERE – FORM FOLLOWS FUNCTION!BELVEDERE – FORM FOLLOWS FUNCTION!

VILLA ROTUNDA, PERFECTLY RADIALLY VILLA ROTUNDA, PERFECTLY RADIALLY SYMMETRIC. PATRON?SYMMETRIC. PATRON?

A PRIESTA PRIEST

INTERIOR OF DOME, VILLA ROTUNDA: NICE WEEKEND INTERIOR OF DOME, VILLA ROTUNDA: NICE WEEKEND HOUSE FOR A PRIEST! NOTE BALUSTRADED HOUSE FOR A PRIEST! NOTE BALUSTRADED AMBULATORY IN DOMEAMBULATORY IN DOME

PLAN, VILLA ROTUNDA?PLAN, VILLA ROTUNDA?GREEK CROSS, SQUARE, CIRCLEGREEK CROSS, SQUARE, CIRCLE

THOMAS JEFFERSON, ROTUNDA, THOMAS JEFFERSON, ROTUNDA, UNIVERSITY OF VIRGINIA, 1822.UNIVERSITY OF VIRGINIA, 1822.

PALLADIO, AERIAL VIEW OF SAN GIORGIO PALLADIO, AERIAL VIEW OF SAN GIORGIO MAGGIORE, VENICE, ITALY, BEGUN 1566.MAGGIORE, VENICE, ITALY, BEGUN 1566.

FAFAÇADE, SAINT ÇADE, SAINT GIORGIO MAGGIORE GIORGIO MAGGIORE = DUAL = DUAL FAFAÇADEÇADE

PALLADIO'S PALLADIO'S SOLUTION FOR SOLUTION FOR PROBLEM OF HOW PROBLEM OF HOW TO PUT A TO PUT A "RATIONAL" "RATIONAL" FAFAÇADE ÇADE ON BASILICA WITH ON BASILICA WITH HIGH NAVE AND HIGH NAVE AND LOW AISLES (AVOID LOW AISLES (AVOID THE "SCREEN" THE "SCREEN" EFFECT OF EFFECT OF CHURCHES SUCH AS CHURCHES SUCH AS SANTA MARIA SANTA MARIA NOVELLONOVELLO

ALBERTI, FAÇADE OF SANTA MARIA NOVELLO, 1456 ALBERTI, FAÇADE OF SANTA MARIA NOVELLO, 1456 - 70- 70

CHOIR AND APSE, SAN GIORGIO MAGGIORECHOIR AND APSE, SAN GIORGIO MAGGIORE

MANNERISMMANNERISM

SPECIFIC GOALS:SPECIFIC GOALS:

UNDERSTAND MANNERISM AS AN ARTIFICIAL, UNDERSTAND MANNERISM AS AN ARTIFICIAL, IDIOSYNCRATIC STYLE IN CONTRAST TO THE IDIOSYNCRATIC STYLE IN CONTRAST TO THE NATURALISM OF THE HIGH RENAISSANCE.NATURALISM OF THE HIGH RENAISSANCE.

EXAMINE MANNERISM AS INTERESTED IN EXAMINE MANNERISM AS INTERESTED IN EXPRESSIVE FORMS OF ART RATHER THAN EXPRESSIVE FORMS OF ART RATHER THAN CLASSICAL FORMS.CLASSICAL FORMS.

EXPLORE THE LIVES AND WORKS OF KEY EXPLORE THE LIVES AND WORKS OF KEY ARTISTS OF THE MANNERIST STYLE. ARTISTS OF THE MANNERIST STYLE.

RECOGNIZE THE ARTISTIC ELEMENTS OF RECOGNIZE THE ARTISTIC ELEMENTS OF MANNERIST PAINTING, SCULPTURE, AND MANNERIST PAINTING, SCULPTURE, AND ARCHITECTURE.ARCHITECTURE.

ARCHITECTUREARCHITECTURE

GIULIO ROMANO, interior courtyard facade of the Palazzo delGIULIO ROMANO, INTERIOR COURTYARD FACADE OF GIULIO ROMANO, INTERIOR COURTYARD FACADE OF THE PALAZZO DEL TÈ, MANTUA, ITALY, 1525–1535. THE PALAZZO DEL TÈ, MANTUA, ITALY, 1525–1535. ANTI-CLASSICAL! ANTI-CLASSICAL!

MICHELANGELO, MICHELANGELO, VESTIBULE OF VESTIBULE OF LAURENTIAN LAURENTIAN LIBRARY, LIBRARY, FLORENCE, 1524-FLORENCE, 1524-34; STAIRCASE 34; STAIRCASE 1558-59. 1558-59.

MANNERIST MANNERIST ELEMENTS?ELEMENTS?

FORM DOESN’T FORM DOESN’T FOLLOW FOLLOW FUNCTION: FUNCTION: MASSIVE BUT MASSIVE BUT NONSTRUCTURAL NONSTRUCTURAL COLUMNS, SPLIT COLUMNS, SPLIT COLUMNS, PURELY COLUMNS, PURELY DECORATIVE DECORATIVE VOLUTE CORBELS VOLUTE CORBELS

PILASTERS FLANKING NICHES TAPER UPWARD. PILASTERS FLANKING NICHES TAPER UPWARD. INTERRUPTED STRING COURSESINTERRUPTED STRING COURSES

FORM FORM DOESN’T DOESN’T EVEN EVEN ALLOW ALLOW FUNCTION:FUNCTION:

STAIRWAY STAIRWAY IS LOVELY IS LOVELY SCULPTURE, SCULPTURE, BUT TRY BUT TRY WALKING WALKING ON IT! ON IT!

NOTE THAT NOTE THAT THE THE OUTSIDE OUTSIDE STAIRCASES STAIRCASES DON’T GO DON’T GO ANYWHEREANYWHERE

GIACOMO DELLA PORTA, FAÇADE OF IL GESÙ, ROME, GIACOMO DELLA PORTA, FAÇADE OF IL GESÙ, ROME, © 1575–1584. THIS IS © 1575–1584. THIS IS NOT NOT MANNERIST – IN SAME MANNERIST – IN SAME RENAISSANCE TRADITION AS ALBERTI RENAISSANCE TRADITION AS ALBERTI

33

11

2233

1)1) DOMEDOME

2)2) NAVENAVE

3)3) SIDE CHAPELSSIDE CHAPELS

GIACOMO DA GIACOMO DA VIGNOLA,VIGNOLA,PLAN, IL PLAN, IL GESÙ, 1568.GESÙ, 1568.

ALSO NOT ALSO NOT MANNERIST! MANNERIST! VERY VERY RATIONAL.RATIONAL.

MODEL FOR MODEL FOR LATER LATER CHURCHESCHURCHES

PAINTINGPAINTING

SPECIFIC GOALS:SPECIFIC GOALS:

RECOGNIZE BASIC FEATURES OF MANNERISM:RECOGNIZE BASIC FEATURES OF MANNERISM:

MANNERED – CONTRIVED, "STYLISH"MANNERED – CONTRIVED, "STYLISH"

ELONGATED FIGURES ELONGATED FIGURES

LESS EMPHASIS ON BALANCE, SYMMETRY, LESS EMPHASIS ON BALANCE, SYMMETRY, AND AND RATIONAL COMPOSITIONRATIONAL COMPOSITION

UNUSUAL LIGHTING EFFECTSUNUSUAL LIGHTING EFFECTS

COMPARE AND CONTRAST MANNERIST COMPARE AND CONTRAST MANNERIST PAINTING WITH THAT OF THE HIGH RENAISSANCEPAINTING WITH THAT OF THE HIGH RENAISSANCE

IDENTIFY MAJOR MANNERIST ARTISTS, THEIR IDENTIFY MAJOR MANNERIST ARTISTS, THEIR STYLES AND MAJOR WORKSSTYLES AND MAJOR WORKS

JACOPO DA JACOPO DA PONTORMO, PONTORMO, ENTOMBMENT OF ENTOMBMENT OF CHRISTCHRIST, CAPPONI , CAPPONI CHAPEL, SANTA CHAPEL, SANTA FELICITÀ, FELICITÀ, FLORENCE, ITALY, FLORENCE, ITALY, 1525–1528. OIL ON 1525–1528. OIL ON WOOD, 10' 3" X 6' WOOD, 10' 3" X 6' 4".4".

WHAT'S WHAT'S MANNERED?MANNERED?

UNNATURAL UNNATURAL SETTING, SETTING, POSITIONSPOSITIONSVOID IN CENTERVOID IN CENTERNO CROSS NO CROSS ((INVISIBLEINVISIBLE))TINY HEADS, LONG TINY HEADS, LONG LIMBS LIMBS

PARMIGIANINO, PARMIGIANINO, MADONNA WITH THE MADONNA WITH THE LONG NECKLONG NECK, FROM THE , FROM THE BAIARDI CHAPEL, SANTA BAIARDI CHAPEL, SANTA MARIA DEI SERVI, PARMA, MARIA DEI SERVI, PARMA, 1534–1540. OIL ON 1534–1540. OIL ON WOOD, 7'1"X 4'4". UFFIZI.WOOD, 7'1"X 4'4". UFFIZI.

ELEGANCEELEGANCEUNNATURALLY LONG UNNATURALLY LONG NECK, HAND, BABY, NECK, HAND, BABY, ANGEL LEGANGEL LEGPERSPECTIVE DISCARDED PERSPECTIVE DISCARDED

BRONZINO, BRONZINO, VENUS, VENUS, CUPID, FOLLY, AND CUPID, FOLLY, AND TIME,TIME, © 1546. OIL © 1546. OIL ON WOOD, 5'1"X 4'8 ON WOOD, 5'1"X 4'8 ¼". NATIONAL ¼". NATIONAL GALLERY, LONDON.GALLERY, LONDON.

PATRON?PATRON?COSIMO I DE' MEDICI COSIMO I DE' MEDICI AS A GIFT FOR AS A GIFT FOR ANOTHER ANOTHER MANMAN (FRANCIS I, FRANCE) (FRANCIS I, FRANCE)

TOTALLY TOTALLY UNNATURAL AS UNNATURAL AS WELL AS LASCIVIOUSWELL AS LASCIVIOUS

"MEANING "MEANING AMBIGUOUS" AMBIGUOUS"

TINTORETTO, TINTORETTO, LAST SUPPERLAST SUPPER, 1594. OIL ON CANVAS, 12' , 1594. OIL ON CANVAS, 12' X 18' 8'. SAN GIORGIO MAGGIORE, VENICE.X 18' 8'. SAN GIORGIO MAGGIORE, VENICE.

CHRIST IN THE HOUSE OF LEVICHRIST IN THE HOUSE OF LEVI, FROM THE REFECTORY , FROM THE REFECTORY OF SANTI GIOVANNI E PAOLO, VENICE, 1573. OIL ON OF SANTI GIOVANNI E PAOLO, VENICE, 1573. OIL ON CANVAS, 18'3"X 42’. GALLERIA DELL’ACCADEMIA, CANVAS, 18'3"X 42’. GALLERIA DELL’ACCADEMIA, VENICE. ORIGINALLY TITLED VENICE. ORIGINALLY TITLED THE LAST SUPPER. THE LAST SUPPER. A A VERY RICH, STYLISH, MERRY LAST SUPPER!VERY RICH, STYLISH, MERRY LAST SUPPER!

DETAIL, DETAIL, HOUSE OF LEVI: HOUSE OF LEVI: DWARF JESTER AND DWARF JESTER AND "BLACKAMOOR" ENTERTAINERS – NOT EXACTLY "BLACKAMOOR" ENTERTAINERS – NOT EXACTLY THE RIGHT MESSAGE FOR THE COUNTER-THE RIGHT MESSAGE FOR THE COUNTER-REFORMATIONREFORMATION

DOGS, DWARF, FAT RICH LORD, ETC.DOGS, DWARF, FAT RICH LORD, ETC.

PAOLO VERONESE, PAOLO VERONESE, TRIUMPH OF VENICETRIUMPH OF VENICE, , © 1585. OIL ON © 1585. OIL ON CANVAS, 29'8" X 19'. CANVAS, 29'8" X 19'. CEILING OF THE HALL CEILING OF THE HALL OF THE GRAND OF THE GRAND COUNCIL, DOGE’S COUNCIL, DOGE’S PALACE, VENICE.PALACE, VENICE.

AWARENESS OF AWARENESS OF VIEWER! 45VIEWER! 45o o PROJECTIONPROJECTION

BRONZINO, BRONZINO, PORTRAIT OF A PORTRAIT OF A YOUNG MANYOUNG MAN, © , © 1530–1545. OIL ON 1530–1545. OIL ON WOOD, 3' ½" X 2' 5 WOOD, 3' ½" X 2' 5 ½". MET.½". MET.

AND SOME MAYBE NOT MANNERIST AND SOME MAYBE NOT MANNERIST PAINTERS . . .PAINTERS . . .

PORTRAIT OF THE ARTISTPORTRAIT OF THE ARTIST'S SISTERS AND BROTHER © 'S SISTERS AND BROTHER © 1555. OIL ON PANEL, 2' 5 ¼" X 3' 1 ½". CORSHAM 1555. OIL ON PANEL, 2' 5 ¼" X 3' 1 ½". CORSHAM COURT, WILSHIRECOURT, WILSHIRE

WOMAN ARTIST: SOPHONSIBA ANGUISSOLAWOMAN ARTIST: SOPHONSIBA ANGUISSOLA

WHAT STYLE?WHAT STYLE?

ANGUISSOLA, ANGUISSOLA, SELF SELF PORTRAITPORTRAIT, 1554. , 1554. OIL ON CANVAS, OIL ON CANVAS, 19.5 X 12.5 CM. 19.5 X 12.5 CM. KUNSTHISTORISCHKUNSTHISTORISCHES MUSEUM, ES MUSEUM, VIENNAVIENNA

ANGUISSOLA, ANGUISSOLA, PRADO PHILIP II, PRADO PHILIP II, © © 1570. OIL ON 1570. OIL ON CANVAS, 88 X 72 CANVAS, 88 X 72 CM. MUSEO DEL CM. MUSEO DEL PRADO, MADRID, PRADO, MADRID, SPAINSPAIN

ANGUISSOLA WAS ANGUISSOLA WAS COURT PAINTER COURT PAINTER TO PHILIP II TO PHILIP II

ANGUISSOLA, ANGUISSOLA, ELISABETH OF ELISABETH OF VALOIS © 1599. VALOIS © 1599. (DAMAGED) OIL ON (DAMAGED) OIL ON CANVAS, CANVAS, 68 × 54 CM. 68 × 54 CM. KUNSTHISTORISCHKUNSTHISTORISCHES MUSEUM, ES MUSEUM, VIENNA.VIENNA.

ANGUISSOLA, ANGUISSOLA, SELF PORTRAIT, SELF PORTRAIT, 16101610

CORREGIO, CORREGIO, ASSUMPTION OF ASSUMPTION OF THE VIRGINTHE VIRGIN, , CEILING OF PARMA CEILING OF PARMA CATHEDRAL, 1526-CATHEDRAL, 1526-30. FRESCO. 30. FRESCO. 35' 10" X 27' 11". 35' 10" X 27' 11".

RENAISSANCE, RENAISSANCE, MANNERIST, EARLY MANNERIST, EARLY BAROQUE?BAROQUE?

CORREGIO, CORREGIO, IO AND ZEUSIO AND ZEUS, © , © 1530. OIL ON CANVAS, 1530. OIL ON CANVAS, 163.5  × 70.5 CM. 163.5  × 70.5 CM. KUNSTHISTORISCHES KUNSTHISTORISCHES MUSEUM.MUSEUM.

ZEUS – ZEUS – INVISIBLEINVISIBLE

SCULPTURESCULPTURE

SPECIFIC GOALS:SPECIFIC GOALS:

NOTE DISTINCTIVE ELEMENTS IN NOTE DISTINCTIVE ELEMENTS IN MANNERIST SCULPTURE, ESPECIALLY MANNERIST SCULPTURE, ESPECIALLY GROTESQUERIES AND REVIVAL OF FIGURA GROTESQUERIES AND REVIVAL OF FIGURA SERPENTINATASERPENTINATA

IDENTIFY THE MANNERIST SCULPTORS AND IDENTIFY THE MANNERIST SCULPTORS AND THEIR MAJOR WORKS THEIR MAJOR WORKS

BENVENUTTO CELLINI, BENVENUTTO CELLINI, SALTCELLAR OF FRANCIS ISALTCELLAR OF FRANCIS I, , 1540-1543. GOLD, ENAMEL, AND EBONY, 10 ¼" X 1' 1' 1540-1543. GOLD, ENAMEL, AND EBONY, 10 ¼" X 1' 1' 11//88". KUNSTHISOTRISCHES MUSEUM. ". KUNSTHISOTRISCHES MUSEUM.

CELLINI, CELLINI, PERSEUS WITH PERSEUS WITH THE HEAD OF MEDUSATHE HEAD OF MEDUSA, , 1554-55. BRONZE, 18' 1554-55. BRONZE, 18' HIGH. LOGGIA DEI HIGH. LOGGIA DEI LANZI, PIAZZA DELLA LANZI, PIAZZA DELLA SIGNORIA, FLORENCE.SIGNORIA, FLORENCE.

GROTESQUE THEMES GROTESQUE THEMES ALSO ALSO CHARACTERISTICALLY CHARACTERISTICALLY MANNERIST MANNERIST

GIOVANNI DA BOLOGNA, GIOVANNI DA BOLOGNA, ABDUCTION OF THE SABINE ABDUCTION OF THE SABINE WOMENWOMEN ( (OR WHATEVEROR WHATEVER!), !), LOGGIA DEI LANZI, PIAZZA LOGGIA DEI LANZI, PIAZZA DELLA SIGNORIA, FLORENCE, DELLA SIGNORIA, FLORENCE, ITALY, 1579–1583. MARBLE, ITALY, 1579–1583. MARBLE, 13'5 ½" HIGH. 13'5 ½" HIGH.

FIGURATA SERPENTINA (DUE FIGURATA SERPENTINA (DUE TO REDISCOVERY (OR TO REDISCOVERY (OR MICHELANGELO SCULPTING) MICHELANGELO SCULPTING) THE LAOCÖON).THE LAOCÖON).

FIRST LARGE-SCALE 360FIRST LARGE-SCALE 360o o SCUPTURE SINCE ANTIQUITYSCUPTURE SINCE ANTIQUITY