Renaissance in Italy.docx

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Polytechnic University of the Philippines

COLLEGE OF ARCHITECTURE and FINE ARTS

Department of Architecture

Sta. Mesa, Manila

RENAISSANCE

ARCHITECTURE IN ITALY

( Written Report )

Submitted by:

Avila, Antonio Jr.

Basco Jr., Mario A.

Belarmino, Sherwin

Calleja, Martin Owen

Egaa, Von Leunice

Erni, Ned Angelo J.

Estadilla, Jerome Cristopher H.

Reyes, Juan Carlo

Soriano, John Kevin M.

Tayao, John Mark

Vizarra, Mark Kevin

GROUP 1

Submitted to:

Archt. Jocelyn Lutap

10 September, 2012


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Architectural Character:

The obvious distinguishing features of Classical Roman architecture were adopted by

Renaissance architects. However, the forms and purposes of buildings had changed over time,

as had the structure of cities. Among the earliest buildings of the reborn Classicism were

churches of a type that the Romans had never constructed. Neither were there models for the

type of large city dwellings required by wealthy merchants of the 15th century. Conversely, there

was no call for enormous sporting fixtures and public bath houses such as the Romans had

built. The ancient orders were analysed and reconstructed to serve

new purposes.

Plan

The plans of Renaissance buildings have a square, symmetrical

appearance in which proportions are usually based on a module.

Within a church the module is often the width of an aisle. The need

to integrate the design of the plan with the faade was introduced

as an issue in the work ofFilippo Brunelleschi, but he was never

able to carry this aspect of his work into fruition. The first building

to demonstrate this was St. Andrea in Mantua by Alberti. The

development of the plan in secular architecture was to take place

in the 16th century and culminated with the work ofPalladio.

Faade

Faades are symmetrical around their vertical axis. Church

faades are generally surmounted by a pediment andorganized by a system of pilasters, arches and

entablatures. The columns and windows show a

progression towards the center. One of the first true

Renaissance faades was the Cathedral ofPienza (1459

62), which has been attributed to the Florentine architect

Bernardo Gambarelli (known as Rossellino)

with Alberti perhaps having some responsibility in its

design as well.

Domestic buildings are often surmounted by a cornice.

There is a regular repetition of openings on each floor, andthe centrally placed door is marked by a feature such as a

balcony, or rusticated surround. An early and much copied

prototype was the faade for the Palazzo Rucellai (1446

and 1451) in Florence with its three registers ofpilasters

Figure 1. Raphael's unused plan

or St. Peter's Basilica

http://en.wikipedia.org/wiki/File

:SaintPierreRaphael.JPG

Figure 2. Sant'Agostino, Rome, Giacomo di

Pietrasanta, 1483

http://en.wikipedia.org/wiki/File:Sant_ago

stino.JPG
http://en.wikipedia.org/wiki/Filippo_Brunelleschihttp://en.wikipedia.org/wiki/Basilica_di_Sant%27Andrea_di_Mantovahttp://en.wikipedia.org/wiki/Leone_Battista_Albertihttp://en.wikipedia.org/wiki/Palladiohttp://en.wikipedia.org/wiki/Fa%C3%A7adehttp://en.wikipedia.org/wiki/Pienzahttp://en.wikipedia.org/wiki/Rossellinohttp://en.wikipedia.org/wiki/Leone_Battista_Albertihttp://en.wikipedia.org/wiki/Cornicehttp://en.wikipedia.org/wiki/Palazzo_Rucellaihttp://en.wikipedia.org/wiki/Pilastershttp://en.wikipedia.org/wiki/Pilastershttp://en.wikipedia.org/wiki/File:Sant_agostino.JPGhttp://en.wikipedia.org/wiki/File:SaintPierreRaphael.JPGhttp://en.wikipedia.org/wiki/File:Sant_agostino.JPGhttp://en.wikipedia.org/wiki/File:SaintPierreRaphael.JPGhttp://en.wikipedia.org/wiki/Pilastershttp://en.wikipedia.org/wiki/Palazzo_Rucellaihttp://en.wikipedia.org/wiki/Cornicehttp://en.wikipedia.org/wiki/Leone_Battista_Albertihttp://en.wikipedia.org/wiki/Rossellinohttp://en.wikipedia.org/wiki/Pienzahttp://en.wikipedia.org/wiki/Fa%C3%A7adehttp://en.wikipedia.org/wiki/Palladiohttp://en.wikipedia.org/wiki/Leone_Battista_Albertihttp://en.wikipedia.org/wiki/Basilica_di_Sant%27Andrea_di_Mantovahttp://en.wikipedia.org/wiki/Filippo_Brunelleschi


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Columns and Pilasters

The Roman orders of columns are used:- Tuscan, Doric, Ionic,

Corinthian and Composite. The orders can either be structural,

supporting an arcade or architrave, or purely decorative, set

against a wall in the form of pilasters. During the Renaissance,

architects aimed to use columns, pilasters, and as an

integrated system. One of the first buildings to use pilasters as

an integrated system was in the Old Sacristy (14211440) by

Brunelleschi.

Arches

Arches are semi-circular or (in the Mannerist style) segmental.

Arches are often used in arcades, supported on piers or

columns with capitals. There may be a section of entablature

between the capital and the springing of the arch. Alberti wasone of the first to use the arch on a monumental scale at

the St. Andrea in Mantua.

Vaults

Vaults do not have ribs. They are semi-circular or segmental and on a square plan, unlike the

Gothic vault which is frequently rectangular. The barrel vault is returned to architectural

vocabulary as at the St. Andrea in Mantua.

Domes

The dome is used frequently, both as a very large structural

feature that is visible from the exterior, and also as a means of

roofing smaller spaces where they are only visible internally.

Domes had been used only rarely in the Middle Ages, but

after the success of the dome in Brunelleschis design for

the Basilica di Santa Maria del Fiore and its use in Bramantes

plan forSt. Peter's Basilica (1506) in Rome, the dome became

an indispensable element in church architecture and later

even for secular architecture, such as Palladio's Villa Rotonda.

Ceilings

Roofs are fitted with flat or coffered ceilings. They are not left

open as in Medieval architecture. They are frequently painted

or decorated.

Figure 3. Classical Orders, engravingrom theEncyclopdie vol. 18. 18th

century

http://en.wikipedia.org/wiki/File:Classi

cal_orders_from_the_Encyclopedie.png

Figure 4. The Dome of St Peter's

Basilica, Rome.

http://en.wikipedia.org/wiki/File:StPet

ersDomePD.jpg
http://en.wikipedia.org/wiki/Sagrestia_Vecchiahttp://en.wikipedia.org/wiki/Basilica_di_Sant%27Andrea_di_Mantovahttp://en.wikipedia.org/wiki/Barrel_vaulthttp://en.wikipedia.org/wiki/Basilica_di_Sant%27Andrea_di_Mantovahttp://en.wikipedia.org/wiki/Basilica_di_Santa_Maria_del_Fiorehttp://en.wikipedia.org/wiki/St._Peter%27s_Basilicahttp://en.wikipedia.org/wiki/Villa_Rotondahttp://en.wikipedia.org/wiki/File:Classical_orders_from_the_Encyclopedie.pnghttp://en.wikipedia.org/wiki/File:StPetersDomePD.jpghttp://en.wikipedia.org/wiki/Villa_Rotondahttp://en.wikipedia.org/wiki/St._Peter%27s_Basilicahttp://en.wikipedia.org/wiki/Basilica_di_Santa_Maria_del_Fiorehttp://en.wikipedia.org/wiki/Basilica_di_Sant%27Andrea_di_Mantovahttp://en.wikipedia.org/wiki/Barrel_vaulthttp://en.wikipedia.org/wiki/Basilica_di_Sant%27Andrea_di_Mantovahttp://en.wikipedia.org/wiki/Sagrestia_Vecchia


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Doors

Doors usually have square lintels. They may be set within an arch or surmounted by a triangular

or segmental pediment. Openings that do not have doors are usually arched and frequently

have a large or decorative keystone.

Windows

Windows may be paired and set within a semi-circular

arch. They may have square lintels and triangular or

segmental pediments, which are often used alternately.

Emblematic in this respect is the Palazzo Farnese in

Rome, begun in 1517.

In the Mannerist period the Palladian arch was

employed, using a motif of a high semi-circular toppedopening flanked with two lower square-topped

openings. Windows are used to bring light into the

building and in domestic architecture, to give views.

Stained glass, although sometimes present, is not a feature.

Walls

External walls are generally of highly finished ashlarmasonry,

laid in straight courses. The corners of buildings are often

emphasised by rusticated quoins. Basements and ground floorswere often rusticated, as modeled on the Palazzo Medici

Riccardi (14441460) in Florence. Internal walls are smoothly

plastered and surfaced with white-chalk paint. For more formal

spaces, internal surfaces are decorated with frescoes.

Details

Courses, mouldings and all decorative details are carved with

great precision. Studying and mastering the details of the ancient Romans was one of the

important aspects of Renaissance theory. The different orders each required different sets of

details. Some architects were stricter in their use of classical details than others, but there was

also a good deal of innovation in solving problems, especially at corners. Moldings 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. They are not integral to the building as in

Medieval architecture.

Figure 5. Palazzo Farnese

Figure 6. Palazzo Medici Riccardi
http://en.wikipedia.org/wiki/Palazzo_Farnesehttp://en.wikipedia.org/wiki/Ashlarhttp://en.wikipedia.org/wiki/Quoin_(architecture)http://en.wikipedia.org/wiki/Palazzo_Medici_Riccardihttp://en.wikipedia.org/wiki/Palazzo_Medici_Riccardihttp://en.wikipedia.org/wiki/Palazzo_Medici_Riccardihttp://en.wikipedia.org/wiki/Palazzo_Medici_Riccardihttp://en.wikipedia.org/wiki/Quoin_(architecture)http://en.wikipedia.org/wiki/Ashlarhttp://en.wikipedia.org/wiki/Palazzo_Farnese


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Comparative Analysis:

A. Plans.

Florence. Symmetry and compactness of plan, adapted to town rather than country

buildings. Staircases enclosed by walls were roofed by sloping barrel vaults. Churchnaves were planned to support coffered vaults, domes on pendentives, or timber

ceilings.

Rome.More varied planning on a grand scale. Staircases circular and elliptical with

columnar supports are usual, as in the Barberini, Corsini, and Braschi palaces, the Scala

Regia, and at Caprarola. The old Roman type of dome over a circular space and the

dome on pendentives over a square space were both used in churches.

Venice.Where site permitted, a broken, complex, and picturesque disposition was

adopted, as in S. Maria della Salute, but in palaces a straight front to the canals was the

rule. Staircases off a central court surrounded with arcades were characteristic. Church

naves were planned, as in Florence, for vaults, domes, or flat ceilings.

B. Walls.

Florence.Walls recall those of Egypt in severity and are frequently astylar, but varied

surface treatment gives character to each storey, which is also defined by string

courses, and the building is crowned by a deep cornice.

Rome. Walls are frequently screened with pilasters, both single and coupled, on each

storey, or even carried through two storeys to give grandness of scale.

Venice.Walls are characterised by multiplicity of parts produced by columns to each

storey and dividing horizontal entablatures, which, to avoid too pronounced a division,

are sometimes broken back round the columns.

C. Openings.

Florence. Arcades have arches resting directly on columns, with or without a piece of

entablature. Doorways are small and severe yet imposing. The doorways at Genoa

have triangular and segmental pediments, while another treatment has a subsidiary

architrave.

Windows are of three types :

(a) " Arcade " type with central column and round arches, as in the Palazzi

Riccardi, Strozzi, and Quaratesi.


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(b) " Architrave " type with cornice, as in the Palazzo Gondi, or with consoles, as

in the Palazzi Pitti.

(c) " Order " type with columns and entablature, as in the Palazzo Pandolfini.

Rome.Arcades have arches supported on piers faced with columns or pilasters, as inS. Maria della Pace and the Palazzo Farnese, based on the Colosseum facade.

Doorways are flanked by columns, consoles, or rusticated blocks. Windows have

semicircular arches enclosed in mouldings forming a square frame with spandrels, or are

flanked by columns, or have architraves and side consoles.

Venice.Arcades have round arches resting on columns, or on piers faced with

columns. Doorways are flanked by columns and pilasters supporting cornice and

semicircular or triangular pediment or are enclosed in rusticated blocks, while

sometimes, as at Verona, they have architraves and side consoles. Windows are large

with semi-Gothic tracery or are flanked by columns, sometimes supporting round arches

with carved spandrels.

D. Roofs.

Florence.Flat tiled roofs are sometimes visible above cornices. Domes were favourite

features in churches. Raking vaults to staircases and waggon or cross-vaults are

general, both frescoed and coffered.

Rome.Roofs are rarely visible and often hidden by balustrades. Domes on high drums

and crowned with lanterns are usual in churches. Vaults were either coffered in stucco or

painted, after the style of the newly excavated Baths of Titus.

Venice.Roofs with balustrades are frequent . Vaulted ceilings of halls, staircases, and

churches were elaborately moulded in plaster and frescoed, while timber ceilings are a

feature in palaces. Domes in churches are grouped with towers. In Milan and other north

Italian cities the low internal cupola was often covered by a lofty structure in diminishing

stages, as at the Certosa, Pavia, and S. Maria della Grazie, Milan.

E. Columns.

Florence. The Orders, not at first in general use for facades, frequently supported the

arches, both in " cortile " and church arcades.

Rome.--The Orders, either single or coupled, were at first superimposed, but later one

great Order frequently included the whole height of the building. They regulated not only

the height of balustrades, but the spacing and size of windows.


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Venice. Projecting columns in successive tiers with entablatures, often broken back to

the wall, were used, while buildings by Sansovino and Palladio show a more correct and

formal treatment.

F. Mouldings.

Florence.The few and simple mouldings of string courses were slight in projection so

as to throw into relief the crowning cornice, designed on Classic models, as are also the

pedimented door-heads at Genoa. Mouldings of ornamental featuresconsoles,

capitals, corbels, niches, and bracketsexhibit great refinement of line, while coffered

ceilings were of great elaboration as at Genoa.

Rome. Classic mouldings from ancient Roman buildings naturally served as models

which were closely followed, although new combinations were introduced by

Michelangelo and his disciples. The mouldings of balconies, doorways, and tombs are

all Classical in treatment.

Venice. Mouldings were influenced by local Byzantine and Gothic art, and were

extremely refined- and original. Mouldings of pedestals, doorways, entablatures, and

capitals are frequently carved with intricate ornament.

G. Ornament.

Florence. Florentine ornament is well illustrated in the sculptured frieze, coffered

ceilings, pilaster, pilaster capitals, capitals, chimney-piece, consoles or corbels, niche,

tabernacle, holy-water stoup, singing-gallery, lavabos, altar-piece, pulpit, balustrade,

angle lantern and link holder, and reliquary, many of which were delicately carved withpagan motifs of infant genii, fruit, flowers, and masks, while heraldic shields contrast with

plain wall surfaces. The traditional school of fresco painting by Cimabue and Giotto was

influenced by the discovery of ancient Roman paintings. The coloured bas-reliefs. of

Luca della Robbia and his school are specially characteristic of Florentine art at this

period.

Rome. Sculpture was refined in treatment and naturally followed Classical precedent.

Roman ornament generally can be studied from the capital, fountains, the Triclinium,

singing-gallery, monuments, candelabra, and fonts, and the Baroque treatment is seen

in the Fontana di Trevi, and the altar in the Gesu Church. The unearthing of the Baths of

Titus, with their frescoes, gave an impetus to the traditional art of painting in tempera onplastic surfaces, which was carried out on a large scale by Raphael, Giulio Romano, and

Michelangelo, until it reached its zenith in the Sistine Chapel, Rome.

Venice.Sculpture is both beautiful and exuberant and even competes with the actual

architectural features. The Colleoni Monument, Venice (A.D. 1481), is one of the most


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famous in the world, with a lofty pedestal embellished with columns, surmounted by the

bronze equestrian statue by Verrocchio.

The Logetta, Venice (A.D. 1540), is obviously founded on the model of the Arch of Titus,

Rome, extended to three arches. The niches contain statues of heathen gods, and the

high attic has fine sculptured panels and is crowned by a pleasing balustrade. Thebronze gates are rich in Renaissance metalwork.

Sculpture was much influenced by the various preceding styles and by a Venetian love

of display, as seen in the statue niche, balcony, monuments, chimney-piece, carved

panel, balustrade, altar, candelabrum, flagstaff standard, capital, and carved ornament.

The colour-loving Venetians clothed their walls internally with large pictures of subjects

both sacred and profane, especially of the triumphs of their city ; or else sheathed them

in brilliant panels of many-coloured marbles from the shores of the Adriatic.

THREE MAIN REGIONS: (FLORENCE, ROME, VENICE)

FLORENCE.

The Renaissance of the 15th century in Italy had its birth in

Florence, where under unique conditions and influences, a

type of palace building was evolved, to which huge blocks of

rusticated masonry gives an unusually massive and rugged

appearance.

Rustication- a method of forming stonework with

roughened surfaces and recessed joints, principally

employed in Renaissance buildings.

In classical architecture,rustication is an architectural feature

that contrasts in texture with the smoothly finished, squared

block masonry surfaces called ashlar. Rusticated masonry is usually squared-off but left

with a more or less rough outer surface and wide joints that emphasize the edges of each

block. Rustication is often used to give visual weight to the ground floor in contrast to

smooth ashlar above.

The typical palace was built round as internal court.

Similar to mediaeval cloister, surrounded by arcades.

Supporting the walls of upper storeys.

There is a general absence of pilasters as decorative

features.

Figure 8. Palazzo Medici Courtyard

Figure 7. Rustication


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In the facades, which are therefore calledastylar:

while sparing use of detail, together with concentration on

pronounced features produces boldness and simplicity

of style.

The imposing appearance of these massive featuresfronting on narrow streets mis emphasized by boldly

projecting roof cornices, which crown the walls are

proportioned to the height of the buildings.

Astylar- a treatment of faade without columns .

The columnar arcade is a favourite feature not only in courtyards but also in streets in the

founding hospital.

Early Renaissance churches are conspicuous for refinement, in strong contrast to

rugged, fortress like character of the palaces. The architectural character owes much itsinterest to the contributions of sculptors and painters, with their colored glazed- reliefs in terra

cotta, baptistery doors, bas reliefs, carving and statues.

Florentine craftsmanship shows highly developed artistic perception and technical skills

. not only the ornament does depend on the personality of the artist, but architectural design

also became the product of the individual architect rather than following the traditional lines of

craftsmen.

Capital and Brackets. In architecture the capital forms

the topmost member of a column (or pilaster). It mediates

between the column and the load thrusting down upon it,broadening the area of the column's supporting surface.

A niche in classical architecture is an exedra or an apse

that has been reduced in size, retaining the half-dome

heading usual for an apse.

Cortile, internal court surrounded by an

arcade, characteristic of the Italian

palace, or palazzo, during the

Renaissance and its aftermath.

TABERNACLE- recess or receptacle,

usually above an altar- to contain the

characteristic host.

Figure 10. Capital

Figure 11. Niche (left), Tabernacle (right)

Figure 9. Palazzo Medici Riccardi


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Frieze is the wide central section part of an entablature

and may be plain in the Ionic or Doric order, or decorated

with bas-reliefs.

A holy water font or stoup is a vessel containing holywater generally placed near the entrance of a church. It is

used in Catholic Church and some Anglican churches to

make the Sign of the Cross using the holy water upon entrance of the church. Holy water is

blessed by a priest, and Catholics believe it to be a reminder of the baptismal promises.

A lavabo is a device used to provide water for

the washing of hands. It consists normally of a

ewer or container of some kind to pour water,

and a bowl to catch the water as it falls off the

hands. In ecclesiastical usage it refers to both

the basin in which the priest washes his hands

and the ritual that surrounds this action in the

Mass. In secular usage, it refers to a sink for

washing hands; the room in which it is kept is

the lavatory.

Pulpit is a speakers' stand in a church. In many Christian

churches, there are two speakers' stands at the front of the

church. Typically, the one on the left is called the pulpit. Since

the Gospel lesson is often read from the pulpit, the pulpit sideof the church is sometimes called the gospel side.

Cantoria- in the Renaissance term, it is used to denote a

singers gallery often elaborately carved in a major church

Florence contains many examples of Early Renaissance

architecture, but fewer of high Renaissance and Proto-Baroque

and almost none of the Baroque period.

In the 2nd quarter of 16th century, Michelangelo led the proto baroque breakaway from theformalism of design with his new sacristy of St. Lorenzo.

About this time, Florentine garden art was approaching its zenith. The Early Renaissance

villas in the neighboring beautifully-diversified, undulating countryside has retained something or

medieval character: progressively, they developed towards the intimate charm of formally

Figure 12. Frieze

Figure 13. Font/Stoup (left), Lavabo (right)

Figure 14. Pulpit


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related garden compartments of different types, centred on

a summer dwelling or casino, growing more natural as they

merged at the fringed with surrounding landscapes.

Examples Of Renaissance Architecture In Florence:

Filippo Brunelleschi was one of the foremost architects and

engineers of the Italian Renaissance. He is perhaps most famous

for his studies of linear perspective and engineering the dome ofthe Florence Cathedral, but his accomplishments also include

other architectural works, sculpture, mathematics, engineering

and even ship design. His principal surviving works are to be

found in Florence, Italy.

The Dome of Florence Cathedral which was entrusted to

Brunelleschi as the result of a competition, is a miracle of designwhich triumphantly blended a Renaissance dome with a Gothic

building and set the crown on that masterpiece of Mediaeval

Florence. The dome covers an octagonal apartment, 138 ft. 6 ins,

in diameter, and is raised on a drum, with circular windows to light

the interior. This unique dome, which is pointed in form, consists

of inner and outer shells constructed on the Gothic principle, with

eight main and sixteen intermediate ribs supporting panels. It is

said that it was erected without centering, which at any rate may

have been used only to a limited extent.

Palazzo Medici Riccardi

The Palazzo Riccardi, Florence (A.D. 1430), is Michelozzo's best-known building, and here

Lorenzo the Magnificent kept his brilliant Court. The palace was sold (A.D. 1659) to the Riccardi

family. The plan has a cortile or peristyle as in Pompeian houses, around which are ranged the

Figure 15. Boboli Garden, Florence

Figure 16. Filippo Brunelleschi

Figure 17. Dome of Florence Cathedral


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various rooms with the grand stair to the " piano

nobile." The exterior, in three storeys, is an admirable

example of the effective use of graduated rustication.

The ground storey has heavily rusticated masonry with

semicircular arches enclosing windows of the pediment

type ; the intermediate storey has drafted stonewalling with traceried windows ; and the upper storey,

in plain ashlar masonry, has similar windows, and the

whole facade is crowned by a bold cornice projecting

over 8 ft.

The Palazzo Medici, also called the Palazzo Medici

Riccardi after the later family that acquired and expanded it, is a Renaissance palace located in

Florence, Italy.

Palazzo Strozzi

The Palazzo Strozzi, Florence (A.D. 1489) begun by

da Majano, was completed by Cronaca. The chief

features are a large central cortile with arcades on the

three storeys, off which are the stairs and surrounding

rooms. The facade has one unbroken surfacean

early example of the astylar treatment. The rusticated

walls have moulded string courses emphasising the

storeys and producing an effect of horizontality, which

is further accentuated by the grand crowning cornice

which projects over 7 ft. and is about one-tenth the

height of the building. The windows angle-lantern,

and link are attractive features of this famous facade.

Palazzo Pitti

The Palazzo Pitti, Florence (A.D. 1435) erected for

Luca Pitti, a friend of Cosimo de' Medici, is the largest

palace in Italy except the Vatican. It has a fine

symmetrical plan, and is a grand and statelycomposition with a great central cortile and smaller

lateral cortili added in A.D. 1640, but not until A.D.

1763 were the projecting wings added facing the Piazza. The facade, with three-storeyed centre

119 ft. high, is 66o ft. in length. It is of astylar treatment, bearing in its rugged simplicity a

curious resemblance to the bold Claudian Aqueduct, with its massive blocks of masonry and

arches of the ground storey The cortile seen from the famous Boboli Gardens, is unique in its

Figure 18. Walls of Palazzo Medicci Ricardi

Figure 20. Plan of Palazzo Strozzi

Figure 19. Pallazzo Strozzi


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columnar treatment of Doric, Ionic, and Corinthian half-columns. The palace is now the king's

residence and partly occupied by the famous picture

gallery.

The palace was bought by the Medici family in 1549

and became the chief residence of the ruling families

of the Grand Duchy of Tuscany. It grew as a great

treasure house as later generations amassed

paintings, plates, jewelry and luxurious possessions.

In the late 18th century, the palazzo was used as a

power base by Napoleon, and later served for a brief

period as the principal royal palace of the newly united

Italy. The palace and its contents were donated to the

Italian people by King Victor Emmanuel III in 1919, and its doors were opened to the public as

one of Florence's largest art galleries. Today, it houses several minor collections in addition to

those of the Medici family, and is fully open to the public.

B. High Renaissance and Proto Baroque

Palazzo Doria Tursi

The Palazzo Doria Tursi-or Nicholas Grimaldi Palace is a

building in Via Garibaldi at number 9 in the historic center

of Genoa, added on 13 July 2006 in the list of the 42

enrolled in Rolli palaces of Genoa which became a

Heritage of UNESCO. The building is now the seat of themunicipality of Genoa.

The palace was built from 1565 by Giovanni Domenico

and Ponzello to Nicholas Grimaldi, appealed to the

"Monarch" for the number of possible titles that could

boast, and which are compounded by the numerous

claims that he had against Philip II, of which was the

principal banker.

It is the most imposing building of the street, one built on

three parcels of land, with two large gardens framing thecentral body. The spacious balconies overlooking the

street were added in 1597, when the palace became the

property of Giovanni Andrea Doria who acquired it for the

younger son Charles, Duke of Tursi, to whom we owe its

present name. Since 1848 is the town hall of Genoa.

The facade is characterized by the alternation of materials

Figure 21. Palazzo Pitti (exterior)

Figure 23. Palazzo Doria Tursi (interior)

Figure 22. Palazzo Doria Tursi (exterior)


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of different colors: pink stone of Finale, the gray-black slate, the white of the precious marble

from Carrara. The main facade consists of two superimposed orders.

The floor above the large windows skirting alternates from the original design with rustic

pilasters projecting replaced, upstairs, by Doric pilasters. Mascheroni by grimaces animalistic

surmount the windows on both levels, contributing to the plastic rendering of the facade.

The majestic marble portal is crowned with the coat of arms of the city of Genoa. Particularly

innovative is the new and ingenious architectural solution that with the sequence of interior

spaces - foyer, staircase, rectangular courtyard elevated above the porch and staircase with two

flights - creates a wonderful play of light and perspective. The building is the culmination of

residential splendor of the Genoese aristocracy.

The building is connected to the adjacent Palazzo Bianco and houses the last room of the

museum gallery, or the Genoese painting of the seventeenth and eighteenth centuries, the

Penitent Magdalene by Canova, violins Niccol Paganini and Camillo Sivori and numismatic

collections and that of ceramics from the city of Genoa.

C.Baroque

I. Porta Pila

Porta Pila was erected in 1648. In 1898 due to the opening of the

new Via XX Settembre in danger of being demolished, but a clergy

uncompromising claims that ancient port, with the statue of Our

Lady, remained where it had been erected by the avi, guardian of

the city. Following lengthy discussions and tumultuousdemonstrations, common sense prevailed: it was decided that the

transfer and buttressing the door to the ramparts of Monte

Sano.The Porta Pila was originally designed to be part of the

fortification of Porta Maurizio, but instead was transported by the

order of Padri del Comune sometime between 1647 and 1649.

During demolition of the Fronti Bassi the door was demolished as

well, but it was saved and moved in 1899 to the Montesano

Bastion, although this site no longer exists due to the expansion of

the Brignole train station. It was moved to its current place in 1940.

II. Palazzo Carignano

Palazzo Carignano (Carignan Palas in Piedmontese) is a historic building which is one of the

finest examples of Baroque architecture. It consists of two different buildings and is located in

the center of Turin. Together with the Royal Palace and the Senate is one of the most important

buildings of the city.

Figure 24. Porta Pila


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Now houses the National Museum of the Italian

Risorgimento. Nearby are the National University

Library and the Teatro Carignano.

From April 2006, the Museum of the Risorgimento

has been closed for a period of about three years

for a challenging restoration and redevelopment

and reopened March 18, 2011, on the occasion of

the celebrations for the 150th anniversary of the

Unification of Italy .

This Palace is mainly related to the history of Italian

Risorgimento.

The building overlooks the square and the side facade of the Palace of the Academy of

Sciences and the imposing rear of the church of San Filippo Blacks creates a unique

architectural extraordinary value.

In the second half of the seventeenth century (1679-1684) Emanuele Filiberto (known as the

Mute) of the cadet branch of Savoy-Carignano commissioned the famous Theatine father,

architect and mathematician Guarino Guarini (builder of the famous Chapel of the Holy Shroud)

a palace for his family . Guarini designed a beautiful building that is one of the most important

works of the Piedmontese Baroque, with a U-shaped plan and a unique architectural structure:

an elliptical tower is slightly behind the facade and two wings unfold to form a square courtyard

surrounded completely by body of the building.

In the monumental faade the ellipse is distinguishable because it makes room sinuously,

making a magnificent effect, since the facade alternates concave with convex parts, in a

configuration perhaps due to projects by Gian Lorenzo Bernini for the Louvre palace and the

castle of Vaux-le-Vicomte. From the courtyard instead of the elliptical body stands out from the

wings, surpassing them in height.

The building model is also sought at the Oratorio dei Filippini Borromini, also recalled the use of

exposed brick. The bricks perfectly sharpened and grouted with mortar powder cooked, become

as plastic and moldable The decorations on the facade of the main floor, also in brick, are

references to adventures and enterprises of Carignano, including victory in Canada performed

alongside the French in 1667 against the native Iroquois, with the regiment Carignan-Salires.

The large decorative frieze on the faade main bearing the inscription QVI NACQVE VITTORIO

EMANVELE II was added in 1884 by Carlo Ceppi, respecting the Baroque style in brick.

The interiors are beautifully decorated with frescoes and stucco. Some frescoes are by Stefano

Legnani said Legnanino. Agostino Silva was the author of the stucco still visible in the room with

an alcove on the first floor of the south side of the courtyard. Since 1692 the hall, the staircase

and the hall are decorated with stucco and 29 busts of ancient sculptor Pietro Somazzi.

In the course of the extension work carried out at Giuseppe Bollati by Gaetano Ferri between

1864 and 1871 was built the back side, in an eclectic style, with white stone and pink stucco

Figure 25. Palazzo Carignano


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embellished with magnificent columns and pilasters, porch on the ground floor and topped

raised by a balustrade on the top in the center. It was the interior facade of the building at the

time when it was the residence of Savoy. Overlooking the garden, which is now Piazza Carlo

Alberto, the building was connected by walls Directly opposite the stable structure, now home to

the National Library.

St. Peters Basilica

The Papal Basilica of Saint Peter in the

Vatican, known in Italian as Basilica Papale di San

Pietro in Vaticano, but more popularly known as the

St. Peters Basilica is a Renaissance church located in

the Vatican City. The basilica is famous as pilgrimage

site and liturgical functions.

The most renowned and most important work

of architecture from Renaissance period. Belongs to

Late Renaissance period and one of the largest

churches in the world. It is regarded as one of the

holiest Catholic sites although it is not the cathedral of

the Bishop of Rome and neither the mother church of the Roman Catholic Church. It is also

hailed as the greatest of all churches in Christendom.

Built on a site which has a church since the 4th century A.D., and the construction of a

new church over the old Constantinian basilica began on 18 April 1506 and was completed on

18 November 1626.

History

The site was the burial place of St. Peter, one of the twelve Apostles of Jesus Christ.

According to the records of the Biblical book the Acts of the Apostles, after the crucifixion of

Jesus in the second quarter of the 1st century A.D., one of his twelve disciples, Simon, known

as Peter, a fisherman from Galilee, took the leadership among Jesus followers and a great

importance of the founding of the Christian Church.

According to tradition, after ministry of about thirty years, Peter travelled to Rome andduring the reign of Roman Emperor Nero in the year 64 A.D., he met his martyrdom. His

execution was one of the many martyrdoms of Christians after the Great Fire of Rome.

According to Origen, a theologian of early Christian interest in Alexandria, Peter was crucified

head downwards, by his own request because he considered himself unworthy to die in the

same manner as Jesus. He was crucified near an Egyptian obelisk in the Circus of Nero. The

obelisk is now standing at the St. Peters Square and revered as a witness to Peters death.

Figure 26. St. Peters Basilica (aerial view)


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According to tradition, Peters body was buried just outside the Circus, on the Mons Vaticanus

across the Via Cornelia, a road which ran east to west along the north wall of the Circus on land

now covered by the southern portions of the Basilica and the Square, from the Circus, less than

150 meters from his place of death. His grave was initially marked by a red rock, symbolic of his

name, but for non-Christians its meaningless. Years later a shrine was built on the site and

almost 300 years later, Old St. Peters Basilica wasconstructed.

The Old St. Peters Basilica was a 4th century

church begun by Emperor Constantine between 309

and 333 A.D. It was of typical basilical Latin Cross form

with an apsidal end at the chancel, a wide nave and two

aisles on either side. The name Old St. Peters Basilica

has been used since the construction of the current

basilica for its predecessor to distinguish the two.

Architecture of the St. Peters Basilica

The plan of rebuilding the basilica which started in 1506, lasted for 120 years and

directed by many popes, produced the present day basilica. During the period, three plans from

three different architects were chosen to be used. These are the works of three famous

architects of the period in the person of Donato Bramante, Rapahel Sanzio , and Michelangelo

Buonarroti.

I. Plans

Bramantes plan was a Greek cross in shape with a domeinspired by the circular Roman temple, Pantheon. The design was

selected from a competition held by Pope Julius with the scheme as

the grandest building in Christendom. The difference between

Bramantes dome and Pantheons is that the Pantheons dome is

supported by continuous wall and the new basilicas dome was to

be supported only by four large piers, a feature maintained in the

ultimate design. The dome was to be surmounted by a lantern on a

small dome, otherwise very similar to the lantern of Florence

Cathedral. In this plan also the foundation stone of the building has

been laid.

On 1513, Pope Julius died and Bramante was replaced by Guiliano da Sangallo, Fra

Giocondo, and Raphael. Raphael did the works because Sangallo and Fra Giocondo died in

1515, and Bramante died the previous year. The main change in the plan of Raphael is the five

bayed nave, with a row of complex apsidal chapels off the aisles on both side. The chancel and

transepts plan made the squareness of the exterior walls more definite by having the size of the

towers reduced, an ambulatory encircles each semi-circular apses.

Figure 27. The Old St. Peters Basilica

Figure 28. Bramante's Plan


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Raphael died in 1520 at the age of 37 and succeeded by

Baldassare Peruzzi. Peruzzi maintained Raphaels proposed changes to

the internal arrangement of three apses, but reverted to Greek Cross

plan and other features of Bramante. The plan did not go ahead

because of some difficulties with church and state. Peruzzi died in 1536

without his plan being realized.

Antonio da Sangallo the Younger also submitted a plan with the

features of Peruzzi, Raphael, and Bramantes combined and extends

the building into a short nave with a wide faade and portico of dynamic

projection. His dome proposal was more elaborate on structure and

decoration than that of Bramante and it also includes ribs on the exterior.

Sangallo also proposed that the dome should be surmounted by a lantern which he redesigned

to a larger and more elaborate form.

Michelangelo succeeded Sangallo the Younger as

Capomaestro, the superintendent or Chief Architect of the buildingprogram, on January 1, 1547 during the reign of Pope Paul III. He is

the principal designer of the large part of the building as what it is

today. Michelangelo was forced to do the job by Pope Paul III which is

frustrated at the death of the one he choose to do the work, Guilio

Romano, and the refusal of Jacopo Sansovino to leave Venice. For

this Michelangelo wrote I undertake this only for the love of God and

honor of the Apostle.

Michelangelo Era

Michelangelo took over the building site at which four piers were rising behind the

remaining nave of the old basilica. He inherited also the numerous schemes designed and

redesigned by some of the greatest architectural and engineering minds of the period. There

were certain elements found in these schemes. They all proposed for a dome equaled to the

one engineered by Brunelleschi century earlier which dominated the skyline of Renaissance

Florence, and they all called also for a symmetrical plan of either Greek Cross form or a Latin

Cross.

Michelangelo did not simply dismiss the ideas of the previous architects even though the

work progressed only for a little 40 years. He drew on them in developing a grand vision. He

also recognized the quality of Bramantes original design and reverted to the Greek Cross plan.

As it is today, St. Peters has been extended with a nave by Carlo Maderno. It is the

chancel end with the huge centrally placed dome by Michelangelo. Because it is located at the

Vatican State and the nave projection screens the dome from sight when youre approaching

from the square, Michelangelos work is best appreciated from distance.

Figure 29. Raphael's Plan

Figure 30. Michaelangelo's

Plan


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II. Dome

The dome rises to a total height of 136.57 meters

from the floor of the basilica to the top of the external

cross. It holds the title as the tallest dome in the world. The

internal diameter of the dome is 41.47 meters. The

architects of the St. Peters looked for solutions on how to

go about building what was conceived as the greatest

dome of Christendom to the domes of the Pantheon and

Florence Cathedral.

Bramante and Sangallo Era, 1506 and 1513

Bramantes plan for the dome of St. Peters follows that of Pantheon very closely, and

like the Pantheon it was designed to be constructed in tufa concrete. The profile is very similar

with the exception of the lantern surmounting it, except that in this case the supporting wall

becomes a drum above ground level on four massive piers. The solid wall which is used at the

Pantheon is lightened at the St. Peters by Bramante, piercing it with windows and encircling itwith a peristyle.

Sangallos plan (1513), of a large wooden model still exists, looks to both these

predecessors. Realizing the value of the coffering at the Pantheon and the outer stone ribs the

Florence Cathedral. He extended and strengthened Bramantes peristyle into series of arched

and ordered openings around the base, with such arcade set back in a tier above the first. The

delicate form of Florence-based lantern became a massive structure, surrounded by a

projecting base, a peristyle and surmounted by a spire of conic form because of Sangallo.

Michelangelo and Giacomo della Porta Era, 1547 and 1585

In 1547, Michelangelo redesigned the dome, accounting all that had gone before. His

dome is constructed of two shells of brick, like the one in Florence, the outer shell having 16stone ribs, twice the number at Florence but still far fewer than in Sangallos design. The dome

is raised from piers on a drum, like the designs of Bramante and Sangallo. Bramantes

encircling peristyle of and Sangallos arcade are reduced to 16 pairs of Corinthian columns, 15

meters high, connected by an arch. Visually appear to buttress each of the ribs, but structurally

quite redundant. The reason is the dome is ovoid in shape rising steeply as the dome of the

Florence Cathedral, therefore exerting less outward thrust than a hemispherical dome, like that

of the Pantheon, which is countered by the downward thrust of heavy masonry which extends

above the circling wall.

In 1564, Michelangelo died, leaving the domes drum complete and Bramantes piers

bulkier than originally designed, each 18 meters across. The work continued under JacopoBarozzi da Vignola with Giorgio Vasari, a watchdog appointed by Poe Pius V to make sure that

Michelangelos plans were carried out exactly. Littke happened in this period despites Vignolas

knowledge of michelangelos intentions. Pope Sixtus appointed Giacomo della Porta in 1585, to

be assisted by Domenico Fontana.

Figure 31. The Dome ofSt. Peters Basilica


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Completion of the Dome

In 1590, Pope Sixtus Vs last year of reign, della Porta and Fontana brought the dome to

completion. Gregory XIV, successor of Sixtus V, saw Fontana complete the lantern and to the

honor of Sixtus V placed an inscription around its inner opening. The next pope, Clement VIII,

had the cross put into place, an event which took all day, and was accompanied by the ringing

bells of all the citys churches. Two lead caskets are set in the arms of the cross, one containing

a fragment of the True cross and a relic of St. Andrew and the other, medallions of the Holy

Lamb.

In the mid-18th century, cracks appeared in the dome, so four iron chains were installed

between the two shells to bind it, like the rings of that keep a barrel from bursting. At various

times, as many as ten chains are installed, the earliest possibly planned by Michelangelo

himself as a precaution, like what did Brunelleschi did at the Florence Cathedral.

Around the interior of the dome is written, in letters 2

meters high:

TV ES PETRVS ET SVPER HANC PETRAM AEDIFICABOECCLESIAM MEAM. TIBI DABO CLAVES REGNI CAELORVM,

a verse from The Scriptures that translates to "...you are Peter,

and on this rock I will build my church. ... I will give you the keys

of the kingdom of heaven..." Matthew 16:18-19

And beneath the lantern an inscription reads:

S. PETRI GLORIAE SIXTVS PP. V. A. M. D. XC. PONTIF. V.

(To the glory of St Peter; Sixtus V, pope, in the year 1590 and the fifth year of his pontificate.)

III. Faade

The stunning 114.69 meters wide by 45.55

meters high faade of travertine stone was a work of

Swiss-Italian architect of the Renaissance period, Carlo

Maderno. The faade is surrounded by giant orders of

Corinthian columns and a central pediment rises in front

of a attic surmounted by thirteen statues, Jesus Christ

with talleleven Apostles, with the exception of Peter

whose statue is at the left of the stairs, and John theBaptist. Below a huge cornice on a 1 meter tall frieze an

inscription reads: IN HONOREM PRINCIPIS APOST

PAVLVS V BVRGHESIVS ROMANVS PONT MAX MDCXII PONT VII (Paul V Borghese,

Supreme Roman Pontiff, in the year 1612, the seventh of his pontificate, erected in honor of the

Prince of Apostles).

Figure 33. Facade of St. Peter's Basilica

Figure 32. Scriptures on the dome


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IV. Narthex and Portals

Behind the faade of St. Peters stretches a long

narthex, an area often found in Italian Romanesque churches.

This the part of design in which Maderno is most satisfied. Its

long barrel vault is decorated with ornate stucco and gilt, and

illuminated by small windows between pendentives, and the

ornate marble floor is beamed with light reflected from the

piazza. At each end is a theatrical space framed by ionic

columns and a statue is set within each, an equestrian figure of

Charlemagne by Cornacchini in the south and Emperor

Constantine by Bernini in the north.

Five portals lead into the basilica, three are framed by

huge salvaged antique columns. The central portal has bronze

door by Antonio Averulino in 1455 for the old basilica and

enlarged to fit the new space.

V. Nave

The nave was also a work of Maderno, in

which to the single bay of Michelangelos Greek

cross plan he added further three bays. He made

dimensions slightly different to that of Michelangelo,

thus defining where the two architectural worksmeet. The axis of the nave was also tilted by

Maderno. Because an Egyptian obelisk had been

erected in the piazza but had not been quite aligned

with Michelangelos building, Madereno

compensated, in order to at least align it with the

Basilicas faade.

Four cherubs flutter against the first piers of the nave, carrying between them two Holy

Water basins. The cherubs appear o quite a normal cherubic size until approached. It then

became apparent that each is over 2 meters high and real children cannot reach the basins

unless they scramble up the marble draperies. Each aisles have two smaller chapels and a

larger rectangular chapel, the Chapel of the Sacrament and the Choir Chapel. These are

decorated with marble, stucco, gilt, sculpture and mosaic. The last work of Maderno at St.

Peters was to design a crypt-like space or Confessio under the dome. This is the place where

the Cardinals and other privileged persons could descend in order to get nearer to the burial

place of thr apostle. The marble steps aree remnants of the old basilica and around the

Figure 34. Narthex

Figure 35. Nave St. Peter's Basilica


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balustrade are 95 bronze lamps. Confessio refers to the Confession of Faith by St. Peter which

lead to his martyrdom. St. Peters tomb is behind the Niche of Pallium.

St. Peters Square

Known as Piazza San Pietro in Italian, is a

piazza located directly in front of St. Peters Basilica in

the Vatican City.

Under the direction of Pope Alexander VII, Gian

Lorenzo Bernini redesigned the open space outside the

basilica from 1656 to 1667. With a goal of redesigning

the square to be an appropriate forecourt, designed to

accommodate the greatest number of people that could

see the Pope give his blessing either from the middle ofthe faade or from the window in the Vatican Palace.

After working on the interior of St. Peters for decades, Bernini gave order to the space with his

own colonnades, using Tuscan form of Doric, not to compete with the palace-like faade by

Carlo Maderno.

An Egyptian obelisk marked the center of the ellipticalpiazza and two fountains stood at

perfect symmetry at both sides of the square at the two geometric focal points. At the base of

the obelisk is an elliptical block of stone with carved relief of five billowing gust of wind known as

the West Ponente.

The four column deep colossal Tuscan colonnades frame the trapezoidal entrance and

the massive ellipticalpiazza. The colonnade consists of 284 Tuscan columns swept outward I 4

concentric arcs of diminishing size.

Sta. Susana, Rome, Italy

Formally known as the Church of Saint Susana at the Baths

of Diocletian, known in Italian as Chiesa di Santa Susanna alle

Terme di Diocleziano, is a Roman Catholic church in Quirinal Hill,

Rome, Italy. As far back as 280 A.D. there has been a Titular church

associated at this site. The current church was rebuilt from 1585 to

1603 for a monastery of Cristercian nuns founded in 1587 which still

exists.

The church serves as the national parish of Rome from the

United States since that was established at the church in 1921 by

the Paulist Fathers, which is founded in the United States.

History

Figure 36. St. Peter's Square

Figure 37. Church of Sta. Susana


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At about 280, an early Christian house of worship was established on this site, which

was in a house, like many of the earliest Christian meeting places. According to the 6th-century

acta of Susanna, the domus belonged to two brothers named Caius and Gabinus, prominent

Christians. Caius has been identified both with Pope Saint Caius and with Caius the presbyter,

who was a prefect and who is a source of information on early Christianity. Gabinus or Gabinius

is the name given to the father of the semi-legendary Saint Susanna. Her earliest documentedattestations identify her as the patron of the church, not as a martyr and previously the church

was identified in the earliest, fourth-century documents by its title "of Gaius" by the Baths of

Diocletian or as "ad duas domos" ("near the two houses"). It is mentioned in connection with a

Roman synod of 499.

It is one of the oldest titles in the city of Rome, built on remains of three Roman villas still

visible beneath the monastery, was situated outside the wall of the Baths built by Diocletian and

Servian Wall, the first wall built to defend the city. As tradition says, the church was built on

Susannas house, where the saint was martyred. . In the 4th century it was marked with the

designation ad duas domos (at the two houses). This first three-aisled basilica was almost

certainly built under the pontificate of Pope Leo III (795-816).

Architectural History

At the end of the 7th century Pope Sergius I restored the church, but Pope Leo III, the

fourth pope whi had benn a pastor of this church, rebuilt it from the ground in 796, he added the

great apse and conserved the relics of the saints in the crypt. A faade, remained to be

constructed. The present present church of Santa Susanna on its ancient foundations was the

first independent commission in Rome for Carlo Maderno, who had trained as an assistant to

his uncle Domenico Fontana, the chief architect of Pope Sixtus V. Maderno completed the

faade in 1603, a highly influential early Baroque design. The dynamic rhythm of columns and

pilasters, crowding centrally, and the protrusion and increased central decoration add furthercomplexity to the structure. The entrance and roof are surrounded by triangular pediments. The

windows are replaced by niches. There is an incipient playfulness with the rules of classic

design, still maintaining rigor.

Interior

. . The church consists of a single nave, with a circular apse forming two side-chapels. Six

scenes of Susannas life from the Book of Daniel is represented in the frescoes of the central

nave by Baldassare Croce. The frescoes on the curved side of the apse shows Saint Susanna

being threatened by Maximian, but defended by the angel of God. To the right Susanna can be

seen refusing to worship the idol Jupiter. Nebbia's frescoes of the dome of the apse depict Saint

Susanna flanked on either side by angels with musical instruments. Behind the high altar, thepainting depicting the beheading of Saint Susanna is by Tommaso Laureti.

Chapel of our Lady of Graces

The chapel of our Lady of Graces has on its walls two recent frescoes ofSaint

Benedict and Saint Bernard.
http://en.wikipedia.org/wiki/Benedict_of_Nursiahttp://en.wikipedia.org/wiki/Benedict_of_Nursiahttp://en.wikipedia.org/wiki/Bernard_of_Clairvauxhttp://en.wikipedia.org/wiki/Bernard_of_Clairvauxhttp://en.wikipedia.org/wiki/Benedict_of_Nursiahttp://en.wikipedia.org/wiki/Benedict_of_Nursia


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Chapel of Saint Lawrence

Domenico Fontana constructed the second side-chapel to the left dedicated to Saint Lawrence,

commissioned by Camilla Peretti, sister ofPope Sixtus V. The paintings are by the Milanese

artist Giovanni Battista Pozzo (15631591). The altar painting by Cesare Nebbia depicts the

martyrdom of St. Lawrence. In this chapel are venerated Saint Genesius of Rome, patron of

actors, in the act of receiving baptism, and the bishop Pope Saint Eleuterus.

Presbytery

Two frescoes decorated the presbytery. To the left, Baldassare Croce depicts the martyrdom of

Saint Gabinius, while to the right, Paris Nogari shows the martyrdom of Saint Felicitas of

Rome and her seven sons.

Ceiling

The valuable ceiling of the nave and of the presbytery is made in polychromed gilt wood, carved

to the design of Carlo Maderno.

St. Carlo alle Quattro Fontane

Also known as the Church of Saint Charles at the Four

Fountains, Chiesa di San Carlo alle Quattro Fontane in Italian, is

a Roman Catholic church in Rome, Italy. Designed by Francesco

Borromini, an architect from Ticino. It is also Borrominis first

independent commission. The church is an iconic masterpiesce

of Baroque architecture, built as part of a complex of monastic

buildings in Quirinal Hill for the Spanish Trinitarians, an order

dedicated to the freeing of Christian slaves. In 1634, under the

patronage of Cardinal Francesco Barberini, who has a palaceacross the road, Borromini received the commission. However,

the financial backing did not last and subsequently the project

suffered financial difficulties. It is one of the three churches in

Rome dedicated to San Carlo, others are San Carlo ai Catinari

and San Carlo al Corso.

History

The monastic buildings and the cloister were completed

first after which construction of the church took place during the period 1638-1641. In 1646 it

was dedicated to Saint Charles Borromeo. Although the idea for serpentine faade must have

been proposed early on, probably in the mid 1630s, it was only constructed towards the end of

Borrominis life and the upper part was not completed until after his death.

The site of the church and monastery was at the south-west end corner of the Quattro

Fontane which refers to the four corner fountains set on the oblique at the intersection of

Strada Pia and Strada Felice. Later along the Strada Pia, SantAndrea al Quirinale, an oval

church of Bernini is built.

Figure 38. St. Carlo alle Quattro

Fontane
http://en.wikipedia.org/wiki/Domenico_Fontanahttp://en.wikipedia.org/wiki/Saint_Lawrencehttp://en.wikipedia.org/wiki/Camilla_Perettihttp://en.wikipedia.org/wiki/Pope_Sixtus_Vhttp://en.wikipedia.org/wiki/Saint_Genesius_of_Romehttp://en.wikipedia.org/wiki/Pope_Saint_Eleuterushttp://en.wikipedia.org/wiki/Baldassare_Crocehttp://en.wikipedia.org/wiki/Paris_Nogarihttp://en.wikipedia.org/wiki/Saint_Felicitas_of_Romehttp://en.wikipedia.org/wiki/Saint_Felicitas_of_Romehttp://en.wikipedia.org/wiki/Saint_Felicitas_of_Romehttp://en.wikipedia.org/wiki/Saint_Felicitas_of_Romehttp://en.wikipedia.org/wiki/Paris_Nogarihttp://en.wikipedia.org/wiki/Baldassare_Crocehttp://en.wikipedia.org/wiki/Pope_Saint_Eleuterushttp://en.wikipedia.org/wiki/Saint_Genesius_of_Romehttp://en.wikipedia.org/wiki/Pope_Sixtus_Vhttp://en.wikipedia.org/wiki/Camilla_Perettihttp://en.wikipedia.org/wiki/Saint_Lawrencehttp://en.wikipedia.org/wiki/Domenico_Fontana


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Exterior

The faade of San Carlo is of concave-convex form and undulates in a non-classical

way. Tall Corinthian columns stand on plinths and bear the main entablatures. It defines the

main framework of the two-storey building and the tripartite bay division. Between the columns,

smaller columns with their entablatures weave behind the main columns and in turn they frame

niches, windows, a variety of sculptures as well as the main door, the central oval aedicule of

the upper order and the oval framed medallion borne aloft by angels. Above the main entrance,

cherubim herms frame the central figure of Saint Charles Borromeo by Antonio Raggi. And

statues of St. John of Matha and St. Felix of Valois, founders of the Trinitarian Order, are at

either side.

Interior

The interior of the church is both extraordinary and complex. The three principal parts

can be identified vertically as the lower order at ground level, the transition zone of the

pendentives and the oval coffered dome with its oval lantern.

The main altar is on the same longitudinal axis as thedoor and two altars on the cross axis, in the lower part of the

church. Sixteen columns, in a group of four, carry a broad and

continuous entablature. The arrangement seems to refer

cross plan but all altars are visible as the two central columns

in each arrangement of four are placed on the oblique with

respect to the axial ordering of the space. This creates an

undulating movement effect which is enhanced by the variation

in treatment of the bays between the columns with niches,

mouldings, and doors.

The pendentives are part of the transition area wherethe undulating almost cross-like form of the lower order is

reconciled with the oval opening to the dome. The arches

which spring from the diagonally placed columns of the lower

wall order to frame the altars and entrance, rise to meet the

oval entablature and so define the space of the pendentives in which roundels are set.

The oval entablature to the dome has a 'crown' of foliage and frames a view of deep set

interlocking coffering of octagons, crosses and hexagons which diminish in size the higher they

rise. Light floods in from windows in the lower dome that are hidden by the oval opening and

from windows in the side of the lantern. In a hierarchical structuring of light, the illuminated

lantern with its symbol of the Holy Trinity is the most brightly lit, the coffering of the dome isthrown into sharp and deep relief and light gradually filters downwards to the darker lower body

of the church.

Crypt

The crypt follows the size and form of the church and has a low pierced vault. Chapels

open off this space, with an octagonal chapel on the south-east side where Borromini intended

to be buried.

Figure 39. Plan of St. Carlo alle Quattro

Fontane


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Cloister

Next to the church is the cloister, which is a two-storey arrangement. The space is

longer along the entrance axis than it is wide, but the rectangular ordering is interrupted by

cutting the corners so it could also be understood as an elongated octagon. Further complexity

is introduced by the variation in the spacing of the twelve columns carrying alternating round

and flat headed openings, the curvature of the corners, and the inventive balustrade.

Geometrical themes are reinforced by the central octagonal wellhead on an oval base and the

octagonal capitals of the upper columns.

Fontana di Trevi

The Trevi Fountain in Trevi district in Rome, Italy is the largest Baroque fountain in the

city, standing 26 meters high and 20 meters wide. It is also one of the most famous fountain in

the world.

History

The fountain at the junction of three roads marks

the terminal point of the "modern" Acqua Vergine, the

revived Aqua Virgo, one of the ancient aqueducts that

supplied water to ancient Rome. In 19 BC, supposedly

with the help of a virgin, Roman technicians located a

source of pure water 13 km from the city. The eventual

indirect route of the aqueduct made its length some 22

km. This Aqua Virgo led the water into the Baths ofAgrippa. It served Rome for more than four hundred

years. When the Goth besiegers in 537-38 broke the aqueducts, the coup de grce for the

urban life of late classical Rome came. Medieval Romans were reduced to drawing water from

polluted wells and the Tiber River, which was also used as a sewer. In 15 th century the Roman

custom of building a handsome fountain at the end of an aqueduct was revived with the

Renaissance. In 1453, Pope Nicholas V finished mending the Acqua Vergine aqueduct and built

a simple basin, designed by the humanist architect Leon Battista Alberti, to herald the water's

arrival.

Design and Construction

In 1629, Gian Lorenzo Bernini was asked by Pope

Urban VIII to sketch possible renovations but the project

was abandoned when the pope died. Though Bernini's

project was never constructed, there are many Bernini

touches in the fountain as it exists today.

Figure 40. Fontana di Trevi


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During the Baroque era, competitions to design buildings, fountains, and even the

Spanish Steps had become the rage. Pope Clement XII organized a contest in 1730 in which

Nicola Salvi initially lost to Florentine architect Alessandro Galilei, but due to the outcry in Rome

that a Florentine won, Salvi was awarded the commission.

The work began in 1732 and completed in 1762 when

Pietro Braccis Oceanus (God of all Water) was set in the central niche.

Palazzo Ducale, Urbino

The Ducal Palace (Italian: Palazzo Ducale) is a

Renaissance building in the Italian city ofUrbino in the

Marche. One of the most important monuments in Italy,

it is listed as UNESCO World Heritage Site.

History

The construction of the Ducal Palace was begun for

Duke Federico III da Montefeltro around the mid-

fifteenth century by the Florentine Maso di Bartolomeo.

The new construction included the pre-existing Palace

of the Jole. Luciano Laurana, an architect from

Dalmatia who had been influenced by Brunelleschi's

cloisters in Florence, designed the faade, the famous

courtyard and the great entrance staircase. Laurana's

light and noble arcaded courtyard at Urbino rivals that

of the Palazzo della Cancelleria in Rome as the finest

of the Renaissance. Overcoming the exigencies of the

cliff-like site, which made an irregular massing of

architecture necessary, from the 1460s onwards Laurana created what contemporaries

considered the ideal princely dwelling. Many of the refined Early Renaissance carved details are

so similar to features in paintings by Piero della Francesca that scholars have debated his

possible input in the execution of Laurana's plan.

After Laurana's departure from Urbino in 1472, works were continued by Francesco di GiorgioMartini, who was mainly responsible for the faade decoration. The portals and the window

sculptures were executed by the Milanese Ambrogio Barocci, who was also the decorator of the

interior rooms. In high, plainly stuccoed rooms the richly sculptured doorways, chimneys and

friezes created by Barocci, Domenico Rosselli, and their workshops stand out. After the death of

Duke Federico (1482), the construction was left partially unfinished. The second floor was

added in the first half of the following century by Girolamo Genga.

Figure 41. Fountains

Figure 43. Palazzo Ducale

Figure 42. Arcaded Courtyard
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The Ducal Palace is famous as the setting of the conversations which Baldassare Castiglione

represents as having taken place in the Hall of Vigils in 1507 in hisBook of the Courtier. The

palace continued in use as a government building into the 20th century, housing municipal

archives and offices, and public collections of antique inscriptions and sculpture (the Galleria

Nazionale delle Marche, see below). Restorations completed in 1985 have reopened the

extensive subterranean network to visitors.

Palazzo della Cancelleria

The Palazzo della Cancelleria (Italian for "Palace

of the Chancellery", meaning the Papal

Chancellery) is a Renaissance palace in Rome,

Italy, situated between the present Corso Vittorio

Emanuele II and the Campo de' Fiori, in the rione

ofParione. It was built between 14891513 by an

unknown architect as a palace for CardinalRaffaele Riario, Camerlengo of the Holy Roman

Church, and is regarded as the earliest

Renaissance palace in Rome. The palazzo houses the Papal Chancellery, and is an exclave of

the Vatican, not subject to Italian sovereignty. It is designated as a World Heritage Site as part

of a group of buildings, the Properties of the Holy See.

The Cancelleria was built for Cardinal Raffaele Riario who held the post ofCardinal Camerlengo

to his powerful uncle, Pope Sixtus IV. The rumor was that the funds came in a single night's

winnings at gaming. The building has traditionally been attributed to Bramante and AndreaBregno. Current opinion of the architect's identity is divided, with Francesco di Giorgio Martini

and Baccio Pontelli suggested as having been involved in the early stages of design.

In 1517, the newly-completed palazzo was seized by the first Medici Pope, Leo X, who had not

forgotten the complacency of Pope Sixtus at the time of the murderous Pazzi conspiracy

intended to replace the Medici in Florence with a Della Rovere regime. From 1753 the vice-

chancellor was the Jacobite pretender to the throne of Great Britain, Henry Stuart, Cardinal

Duke of York, the Jacobite "Henry IX of Great Britain".

During the Roman Republic of 1849, the parliament briefly sat here.

Palazzo della Cancelleria: the 18th-century engraving by Giuseppe Vasi exaggerates the depth

of the Piazza della Cancelleria in front of the Palace.

Palazzo della Cancelleria was the first palazzo in Rome to be built from the ground up in the

new Renaissance style. Its long faade engulfs the small Basilica Church of San Lorenzo in

Damaso, the Cardinal's titular church, that sits to its right, with the palatial front continuing

straight across: the entrance to the church is on the right side of the facade. The 5th-century

Figure 44. Palazzo della Cancelleria
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church (its interior has been rebuilt) sits, like the church ofSaint Clement[disambiguation needed] among

others, upon a Roman mithraeum (pagan sanctuary); excavations beneath the cortile in 1988

1991 revealed the 4th- and 5th-century foundations of the grand basilica of San Lorenzo in

Damaso, founded by pope Damasus I, and one of the most important early Christian churches

in Rome. A cemetery in use from the 8th century until shortly before the palazzo's construction

was also identified.

The faade with its rhythm of flat doubled pilasters between the arch-headed windows is

Florentine in conception, comparable to Leone Battista Alberti's Palazzo Rucellai. The overall

pattern ofdrafted masonry, cut with smooth surfaces and grooves around the edges, is Ancient

Roman in origin. The grand doorway was added in the 16th century by Domenico Fontana on

the orders ofCardinal Alessandro Farnese.

The building's bone-colored travertine was scavenged from the nearby Roman ruins of the

Theatre of Pompey, for the Eternal City was a field of ruins, built for a city of over a million

people that now housed some thirty thousand. The forty-four Egyptian granite columns of the

inner courtyard are from the porticoes of the theatres upper covered seating, however they were

originally taken from the theatre to build the old Basilica of S. Lorenzo.[3] Brunelleschi's cloisters

ofSanta Croce in Florence, which may have also inspired the courtyard of Luciano Laurana's

Palazzo Ducale of Urbino (circa 1468) has been suggested as a possible source of inspiration.

It is more likely that the form of the courtyard is derived from that of the Ducal Palace in Urbino,

since the individuals involved in the early planning of the palazzo had come from Urbino.

The Tempietto

The Tempietto in Andrea Palladio's Quattro Libri(woodcut, 1570).

The so-called Tempietto (Italian: "small temple") is a small

commemorative tomb (martyrium) built by Donato Bramante,

possibly as early as 1502, in the courtyard of San Pietro in

Montorio. Also commissioned by Ferdinand and Isabella, the

Tempietto is considered a masterpiece of High Renaissance

Italian architecture.

After spending his first years in Milan, Bramante moved to Rome,

where he was recognized by Cardinal Giuliano della Rovere, thesoon-to-be Pope Julius II. One of Bramante's earliest

commissions, the "Tempietto" is one of the most harmonious

buildings of the Renaissance. It is meant to mark the traditional

exact spot of St. Peter's martyrdom. Given all the transformations of Renaissance and Baroque

Rome that were to follow, it is hard now to sense the impact this building had at the beginning of

the 16th century. It is almost a piece of sculpture, for it has little architectonic use. The building

Figure 45. The Tempietto

(section)
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greatly reflected Brunelleschi's style. Perfectly proportioned, it is composed of slender Tuscan

columns, a Doric entablature modeled after the ancient Theater of Marcellus, and a dome.

According to an engraving in Sebastiano Serlio's Book III, Bramante planned to set it in within a

colonnaded courtyard, but this plan was never executed.

Palazzo Grimani di Santa Luca, Venice

Palace in Venice on the canal Rio di San Luca, at

the confluence of the latter in the Grand Canal. It

was built in the Renaissance; the modern species

belongs to the 1556-1575 year. It was originally

built for the Doge Antonio Grimani.After his death,

in the years 1532-1569 consistently reconstructed

the heirs of Duke, first Vittore Grimani , the general

procurator of the city, then Giovanni Grimani ,

Cardinal and Patriarch of Aquileia . Presumably,

the succession order to perform the last Michele

Sanmikeli . Finally, the palace was completed in 1575 by Giovanni Rusconi .Door portal

decorated by Alessandro Vittoria .

The palace consists of three parts and a small rear patio. The facade of the palace is decorated

with colored marble.

Zest interior - Hall of Psyche, decorated with frescoes by Francesco Mentsokki Camilo

Mantovano and Francesco Salviati .Also in the design of the palace attended by Taddeo

Tsukkaro and Giovanni da Udine.

In the present building is located in the Venetian Court of Appeals.

Basilica Palladiana, Vicenza

The Basilica Palladian is a public building facing

onto the Piazza dei Signori. Its name is linked to

Andrea Palladio, who redesigned it, adding the

famous loggias with serliana openings in white

marble to the existing Gothic building.

The building on which Palladio worked was the

Palazzo della Ragione, built in Gothic style in the

mid-fifteenth century to a design by Domenico da

Venezia. The upper floor is entirely taken up by an

enormous hall with no intermediate supports, where the Council of the Four Hundred met. The

copper-lined, inverted ships-hull roof was inspired by that of the Palazzo della Ragione in

Figure 46. Palazzo Grimani

Figure 47. Basilica Palladiana
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Padua. The Gothic facade was originally clad with diamonds of red an

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