004 IST Renastere Si Manierism 03

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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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Santo Spirito - Florenta


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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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Donato Bramante

Controlul perspectivei - Perspectiva falsa a corului



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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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Fatada exterioara San Pietro in Montorio


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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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004 IST Renastere Si Manierism 03

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