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Siena - CatedralaThe origins of the first structure are obscure
and shrouded in legend. There was a 9th
century church with bishop's palace at the
present location. In December 1058 a synod
was held in this church resulting in the
election of pope Nicholas II and the
deposition of the antipope Benedict X.
In 1196 the cathedral masons guild, theOpera di Santa Maria, was put in charge of
the construction of a new cathedral. By 1215
there were already daily masses said in the
new church. There are records from 1226
onwards of the transport of black and white
marble, probably for the construction of the
faade and the bell tower. The vaults and the
transept were constructed in 1259-1260. In
1259 Manuello di Ranieri and his son Parri
carved some wooden choir stalls, which were
replaced about 100 years later and have nowdisappeared. In 1264, Rosso Padellaio was
paid for the copper sphere on top of the
dome.
A second massive addition was planned in
1339. It would have more than doubled the
size of the structure by means of an entirely
new nave and two aisles ranged
perpendicular to the existing nave and
centred on the high altar. The constructionwas begun under the direction of Giovanni di
Agostino, better known as a sculptor.
Construction was halted by the Black Death
in 1348. Basic errors in the construction were
already evident by then, however, and the
work was never resumed. The outer walls,
remains of this extension, can now be seen to
the south of the Duomo. The floor of the
uncompleted nave now serves as a parking
lot and museum, and, though unfinished, the
remains are testament to Sienese power,ambition, and artistic achievement.
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Florenta
Santa Maria del Fiore
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1419
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1419-1436
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The basilica was built on the site of a previous cathedral, Santa Reparata (locals of
Florence continued to call the Cathedral by this former name for some time after
reconstruction),[1] and was inspired by the new cathedrals in Pisa and Siena. By the
end of the 13th century, the nine-centuries-old church of Santa Reparata was
crumbling with age, as attested in documents of that time such as the Nuova Cronica
of Giovanni Villani (12761348).[2] Furthermore, it had become too small in a period of
rapid population expansion.[2] Prosperous Florence also wanted to exceed in size
Saint Peter's Basilica in the Vatican City, Saint Paul's Cathedral in London, the Seville
Cathedral, and the Milan Cathedral.
Plan of the church with various extension phases
Procession outside the cathedral during the 18th century
Giotto's bell tower (campanile)
The new church was designed by Arnolfo di Cambio in 1296 (although the design was
altered several times and later reduced in size). Arnolfo di Cambio was also the
famous architect of the church of Santa Croce and the Palazzo Vecchio. He designedthree wide naves ending under the octagonal dome, with the middle nave covering the
area of Santa Reparata. The first stone was laid on September 9, 1296 by Cardinal
Valeriana, the first papal legate ever sent to Florence. The building of this vast project
was to last 170 years, the collective efforts of several generations.
After Arnolfo died in 1302, work on the cathedral slowed for the following thirty years.
The project obtained new impetus, when the relics of San Zanobius were discovered
in 1330 in Santa Reparata. In 1331, the Arte della Lana (Guild of Wool Merchants)
took over exclusive patronage for the construction of the cathedral and in 1334
appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued
along di Cambio's design. His major accomplishment was the building of thecampanile. When Giotto died in 1337, Andrea Pisano continued the building until work
was again halted due to the Black Plague in 1348.
In 1349 work resumed on the cathedral under a series of architects, commencing with
Francesco Talenti, who finished the campanile and enlarged the overall project to
include the apse and the side chapels. In 1359 Talenti was succeeded by Giovanni di
Lapo Ghini (13601369) who divided the center nave in four square bays. Other
architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Orcagna.
By 1375 the old church Santa Reparata was pulled down. The nave was finished by
1380, and by 1418 only the dome remained incomplete.
Florenta
Santa Maria del Fiore
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Filippo Brunelleschi, 1377-1446
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By the beginning of the fifteenth century, the drum of the church was built. However, the 42 meter wide space above the church's
chancel still did not have the planned octagonal cupola, even though a brick model from 1367 already existed (as related in the
"Life of Brunelleschi" by Antonio Manetti, ca. 1480).
In 1419, the Arte della Lana held a competition to design a dome and cupola for the cathedral. The two main competitors were
Lorenzo Ghiberti (famous for his work on the "Gates of Paradise" doors at the Baptistery) and Filippo Brunelleschi who was
supported by Cosimo de Medici, with Brunelleschi winning and receiving the commission.[3]
The building of a stone dome posed many technical problems. Though Brunelleschi drew his inspiration from the great dome of
the Pantheon in Rome, the use of concrete had long since been forgotten.[citation needed] He would have to build the dome outof bricks. To show what his dome was to look like, he constructed a wooden and brick model with the help of Donatello and
Nanni di Banco (on display in the Museum Opera del Duomo). Brunelleschi won by a nose. His model served as a guide for the
craftsmen, but was intentionally incomplete, as to ensure his control over the construction.
Brunelleschi's solutions were ingenious and unprecedented: the distinctive octagonal design of the double-walled dome, resting
on a drum and not on the roof itself, allowed for the entire dome to be built without the need for scaffolding from the ground, the
first large dome ever to be built without centering[3] But, because the dome rested on a drum with no external butresses
supporting it, there could be no lateral thrusts at the base of the dome. To ensure this, Brunelleschi used horizontal tension
chains of wood and iron set at the base of the dome.
This enormous construction weighs 37,000 tons and contains over 4 million bricks. He made several models and drawings ofdetails during the construction. Brunelleschi had to invent special hoisting machines and lewissons for hoisting large stones.
These specially designed machines and brilliant masonry techniques were Brunelleschi's spectacular contribution to architecture.
The ability to transcribe a circle on a cone face within the innermost double-shelled wall makes the self-sustaining "horizontal"
arch construction possible, since geometrically, a circular plan is needed for such an erection.
Ghiberti, appointed coadjutator, mocked these plans and called them unfeasible. Brunelleschi, deeply offended, then pretended a
sickness and left for Rome, leaving the project in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was
beyond him. In 1423 Brunelleschi was back in charge and took over sole responsibility.
Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on March 25,1436 (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history (The Roman
Pantheon, a circular dome, was built in 117128 C.E. with support structures) to be built without a wooden supporting frame and
was the largest dome built at the time (it is still the largest masonry dome in the world). It had been one of the most impressive
projects of the Renaissance. During the consecration service in 1436, Guillaume Dufay's similarly unique motet Nuper rosarum
flores was performed. The structure of this motet was strongly influenced by the structure of the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was
declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design was for an octagonal lantern with
eight radiating buttresses and eight high arched windows (now on display in the Museum Opera del Duomo). Construction of the
lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by
several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crownedwith a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and
lantern to 114.5 metres (375 ft).
Florenta
Santa Maria
del Fiore
Domul
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Filippo Brunelleschi
Ospedale degli Innocenti(1419-ca.1445)
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Filippo Brunelleschi
Santo Spirito - Florenta
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Filippo Brunelleschi
Basilica di san Lorenzo di Firenze,
(1419-1480s)
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Leon Battista Alberti , 1404-1472
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De re aedificatoria (English: On the Art of Building) is a classic architectural treatise written by Leon
Battista Alberti between 1443 and 1452.[1] Although largely dependent on Vitruvius' De architectura, it
was the first theoretical book on the subject written in the Italian Renaissance and in 1485 became the
first printed book on architecture. It was followed in 1486 with the first printed edition of Vitruvius.
Albertis Ten Books consciously echoes Vitruvius' writing, but he also adopts a critical attitude toward
his predecessor. In his discussion, Alberti includes a wide variety of literary sources, including Platoand Aristotle, presenting concise version of sociology of architecture. Unlike Vitruvius's book, Alberti's
tells architects how buildings should be built, not how they were built. De re aedificatoria is subdivided
into ten books and includes:
Book One: Lineaments
Book Two: Materials
Book Three: Construction
Book Four: Public Works
Book Five: Works of IndividualsBook Six: Ornament
Book Seven: Ornament to Sacred Buildings
Book Eight: Ornament to Public Secular Buildings
Book Nine: Ornament to Private Buildings
Book Ten: Restoration of Buildings
In his survey of desirable floor plans for sacred buildings"temples" in his phraseAlberti begins
with the ideal form of the circle, which is expressed in numerous examples of Nature. Nine ideal
centrally-planned geometrical shapes are recommended for churches; besides the circle he lists the
square, the hexagon, octagon, decagon and dodecagon, all derived from the circle, and, derived from
the square, rectangles that exhibit the square and a half, square and a third and double square, all of
which have enharmonic parallels in music. Chapels add small geometric figures to the basic circles
and polygons to give a great variety of floor plans, in which each geometrical figure retains its clear
unity and simple ratios that bind all elements of the plans and elevations into a harmonic unity.
De Re Aedificatoria remained the classic treatise on architecture from the 16th until the 18th century.
Leon
Batista
Alberti
De Re
Aedificatoria
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Leon Batista Alberti
Santa Maria Novella,Florence (1448-1470)
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Leon Batista Alberti
Sant'Andrea, Mantua(begun 1471)
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Palazzo Rucellai is a fifteenth-century palace in Florence, Italy,
designed by Leon Battista Alberti between 1446 and 1451 and
executed, at least in part, by Bernardo Rossellino. Its splendid facade
was one of the first to announce the new ideas of Renaissance
architecture based on pilasters and entablatures in proportional
relationship to each other, in a design that probably owed a great dealto Alberti's studies of Roman architecture, particularly the Colosseum,
but which is also full of originality.
The rusticated masonry creates an impression of strength, particularly
at the ground floor, which contained storerooms. The three storeys of
the facade have different classical orders, as in the Colosseum, but
with the Tuscan order at the base, an Alberti original in place of Ionic
order at the second level, and a very simplified Corinthian order at the
top level. Double windows at the upper storeys combine with arches
with highly articulated voussoirs that spring from pilaster to pilaster.
The ground floor was for business (the Rucellai family were powerful
bankers) and was flanked by benches running along the street facade.
The second storey (the "piano nobile") was the main formal reception
floor and the third storey the private family and sleeping quarters. A
fourth "hidden" floor under the roof was for servants; with almost no
windows, it is quite dark inside.
The palace is built around a central court, to a design that may have
been adapted from Brunelleschi's loggia at his Foundling Hospital. Set
in front of the palace and at right angles to it is the Rucellai Loggia,which was used for family celebrations, weddings, and as a public
meeting place. The two buildings together, and the open space
between them, form one of the most refined urban compositions of the
Italian Renaissance.
Whilst there is a wealth of circumstantial and stylistic evidence to
demonstrate that Giovanni Rucellai commissioned the design from
Alberti, the only written documentary evidence is in Giorgio Vasari's Le
Vite dei pi eccellenti pittori, scultori, ed architettori (or, in English,
Lives of the Most Excellent Painters, Sculptors, and Architects) from
1568
Palatul RucellaiFlorentaAtribuit lui Leon Batista Alberti
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Palatul RucellaiFlorentaAtribuit lui Leon Batista Alberti
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Palatul
Medici-Riccardi
Michelozzo di Bartolomeo
1445-1460
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Palatul Strozzi
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Benedetto da Maiano
(inc1489fin1538)
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Palatul Pitti
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Palatul Pitti
Luca Fancelli
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Roma - Palatul Farnese - Antonio da Sangallo (fiul)
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Roma Palatul Farnese Antonio da Sangallo (fiul)
Inceput in 1515
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Donato Bramante (1444, 1514)
Santa Maria presso San Satiro Milan, ca. 14821486
Santa Maria delle Grazie (cloister and apse); Milan,
14921498
Palazzo Caprini (also called: 'House of Raphael'),
Rome, 15011502 (non-extant)
San Pietro in Montorio (also called the Tempietto);
Rome, 1502
Santa Maria della Pace (cloister); Rome, 1504
San Pietro in Vaticano, Rome, Design 1503, ground
breaking, 1506
Cortile del Belvedere, Vatican city, rome, 1506.
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Santa Maria presso San Satiro Milan, ca. 14821486
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Donato Bramante
Controlul perspectivei - Perspectiva falsa a corului
Santa Maria presso San Satiro Milan, ca. 14821486
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Donato Bramante
Palazzo Caprini (also called: 'House of Raphael'), Rome, 15011502 (non-extant)
reconstituire
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Bramante - San Pietro in Montorio (also called the Tempietto); Rome, 1502
The Tempietto
The Tempietto of San Pietro in Montorio is a small
commemorative martyrium built by Donato Bramante,
possibly as early as 1502, in the courtyard of San Pietro
in Montorio. It is considered a masterpiece of High
Renaissance architecture.
After spending his first years in Milan, Bramante moved
to Rome, where he was recognized by Cardinal
Guiliano della Rovere, the soon-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 spot
of St. Peter's martyrdom.
With all the transformations of Renaissance and
Baroque Rome that were to follow, it is hard to sense
now what an apparition this building was in beginning of
the sixteenth century. It is almost a piece of sculpture,
for it has little architectonic use. Despite its small scale
the construction has all the grandeur and rigorous
conformity of a Classical building. Perfectlyproportioned, it is composed of slender Doric 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.
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Bramante - San Pietro in Montorio (also called the Tempietto); Rome, 1502
Fatada exterioara San Pietro in Montorio
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Bramante - San Pietro in Montorio (also called the Tempietto); Rome, 1502
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Donato Bramante - Santa Maria della Pace (cloister); Rome, 1504
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Bramante - Cortile del Belvedere, Vatican city, rome, 1506.
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Bramante - San Pietro in Vaticano, Rome, Design 1503, ground breaking, 1506
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Planul lui Michelangelo
peste fundatiile planuluilui Bramante
Fatada ulterioaraMaderna (stil baroc)
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The interior of St. Peter's Basilica by Giovanni Paolo Pannini
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San PietroInterior in prezent
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The Piet sculpted by Michelangelo
Michelangelo di Lodovico Buonarroti Simoni[1] (March 6, 1475
F b 18 1564) l k Mi h l l It li
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February 18, 1564), commonly known as Michelangelo, was an Italian
Renaissance painter, sculptor, architect, poet and engineer. Despite
making few forays beyond the arts, his versatility in the disciplines he
took up was of such a high order that he is often considered a
contender for the title of the archetypal Renaissance man, along with
his rival and fellow Italian Leonardo da Vinci.
Michelangelo's output in every field during his long life was prodigious;
when the sheer volume of correspondence, sketches and
reminiscences that survive is also taken into account, he is the best-
documented artist of the 16th century. Two of his best-known works,
the Piet and the David, were sculpted before he turned thirty. Despite
his low opinion of painting, Michelangelo also created two of the most
influential works in fresco in the history of Western art: the scenes from
Genesis on the ceiling and The Last Judgment on the altar wall of the
Sistine Chapel in Rome. Later in life he designed the dome of St.Peter's Basilica in the same city and revolutionised classical
architecture with his use of the giant order of pilasters.
In a demonstration of Michelangelo's unique standing, he was the first
Western artist whose biography was published while he was alive.[2]
Two biographies were published of him during his lifetime; One of
them, by Giorgio Vasari, proposed that he was the pinnacle of all
artistic achievement since the beginning of the Renaissance, a
viewpoint that continued to have currency in art history for centuries. Inhis lifetime he was also often called Il Divino ("the divine one").[3] One
of the qualities most admired by his contemporaries was his terribilit,
a sense of awe-inspiring grandeur, and it was the attempts of
subsequent artists to imitate Michelangelo's impassioned and highly
personal style that resulted in the next major movement in Western art
after the High Renaissance, Mannerism.
Michelangelo was a profound perfectionist. If he found the tiniest flaw
in one of his works, he considered it ruined
Michelangelo di Lodovico
Buonarroti Simoni
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Drawing for The Libyan Sybil, Metropolitan Museum of Art.Michelangelo - pictorul
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Michelangelopictorul
Capela SixtinaRoma - Vatican
The Statue of David, completed by Michelangelo in 1504
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Michelangelo's Moses (centre) with Rachel and Leah on his sides. (dreapta)
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Michelangeloarhitectul
DomulSan Pietro - Vatican
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MichelangeloPiata Capitoliului - Roma
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Michelangeloarhitectul
Biblioteca Laurentiana - Florenta
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FlorentaPalatul PittiFatada curte spate
Bartolomeo Ammanati (1511-1592)
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FlorentaVedere in Piata Centrala
Spre Palatul (galeriile) Uffizi (1560Arh Giorgio Vasari)
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Caprarola - Vila Farnese1547
Giacomo Barozzi da Vignola
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Caprarola - Vila Farnese1547
Giacomo Barozzi da Vignola
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VeneziaSan Giorgio MagioreAndrea Palladio
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He was born Andrea di Pietro della Gondola in Padova
(Padua), then part of the Republic of Venice. Apprenticed as a
stonecutter in Padova when he was 13, he broke his contract
after only 18 months and fled to the nearby town of Vicenza.
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y y
Here he became an assistant in the leading workshop of
stonecutters and masons. He frequented the workshop of
Bartolomeo Cavazza, from whom he learned some of his
skills.
His talents were first recognized in his early thirties by Count
Gian Giorgio Trissino, who employed the young mason on a
building project. It was also Trissino who gave him the name
by which he is now known, Palladio, an allusion to the Greek
goddess of wisdom Pallas Athene. Palladio later benefited
from the patronage of the Barbaro brothers, Daniele Barbaro,
who encouraged his studies of classical architecture in Rome,
and the younger brother Marcantonio Barbaro. The Palladian
style, named after him, adhered to classical Roman principles(Palladio knew relatively little about Greek architecture). His
architectural works have "been valued for centuries as the
quintessence of High Renaissance calm and harmony"
(Watkin, D., A History of Western Architecture). Palladio
designed many churches, villas, and palaces, especially in
Venice, Vicenza and the surrounding area. A number of his
works are protected as part of the World Heritage Site City of
Vicenza and the Palladian Villas of the Veneto. Other
buildings by Palladio are to be found within the Venice and its
Lagoon World Heritage Site.
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Vicenza Palatul Chiericati
Andrea Palladio
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Basilica din VicenzaExtensie perimetrala a fatadei
begun 1549 (completed in 1617 after Palladio's death)
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Basilica din VicenzaExtensie perimetrala a fatadei
begun 1549 (completed in 1617 after Palladio's death)
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The Palladian, or Serlian, arch or window, as interpreted by Palladio.
Detail of drawing from Quattro Libri dell'Architettura.
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Andrea Palladio
Vicenza - Vila Rotonda
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Vicenza Teatrul Olimpic
Andrea Palladio
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