MICHELANGELO_history of architecture

8/14/2019 MICHELANGELO_history of architecture

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MICHELANGELOMICHELANGELO

BUONARROTIBUONARROTI


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Michelangelo di Lodovico

Buonarroti Simoni

(March 6, 1475 February 18, 1564)an Italian

Renaissance painter, sculptor, architect,

poet, and engineer

he is the best-documented artist of the16th century

world-famous Florentine sculptor and

the painter of the vaulted ceiling of the

Sistine Chapel (1508-)

Two of his best-known works,

thePiet andDavid, were sculpted

before he turned thirty


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The Vaulted

Ceiling of the


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Medici Chapel,

Florence (1521-34)

constitutes the NewSacristy in S. Lorenzo, and

was added by Michelangelo

to correspond with the Old

Sacristy built (1421-8) by

Brunelleschi

interior, 40 ft. square,

approximates in design to its

counterpart; pilasters of

black Istrian stone carry the

main entablature, which is

surmounted by an attic with

pilaster-enframed windows

and niches


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Medici Chapel, Florence

(1521-34)

A deep, dome-crowned recess

contains the altar

the architectural settings forthe funerary elements of the

ducal tombs, which give the

building its special renown

manifested the first important

Proto-Baroque departuresfrom ancient Classical

precedent


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MEDICI

CHAPEL,

Sagrestia Nuova

The Medici Chapel,

Florence (1521-34)

constitutes the New Sacristy

in S. Lorenzo, and wasadded by Michelangelo to

correspond with the Old

Sacristy built (1421-8) by

Brunelleschi.

The interior, 40 ft. square,

approximates in design to

its counterpart; pilasters of

black Istrian stone carry the

main entablature, which is

surmounted by an attic with

pilaster-enframed windows

and niches.


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MEDICI

CHAPEL,

Sagrestia Nuova

A deep, dome-crowned

recess contains the altar.

Yet in the architectural

settings for the funeraryelements of the ducal

tombs, which give the

building its special renown,

there are very significant

differences of style,

manifesting the first

important Proto-Baroque

departures from ancient

Classical precedent.


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The white marble mural tombs are

those ofGuiliano de Medici and,directly opposite, Lorenzo (II_ de

Medici, each with a commanding

sculptured figure of the deceased

against a background of pilaster-enframed niches, over a marble

sarcophagus, bearing recumbent

allegorical figures, representing in

the first case Night and Day, and in

the other, Evening and Dawn

SagrestiaNuova


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The architectural settings are

treated sculpturally, and in quite afew respects are illogical in

structural implication, both within

themselves and in relation to the

fundamental architectural theme ofthe Chapel.

SagrestiaNuova


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PLAN

The Laurentian Library

was commissioned in 1523

and construction began in1525.However, when

Michelangelo left Florence

in 1534, only the walls ofthe reading room were

complete.It was then continued by

Tribolo, Basari, andAmmannati based on plans

and verbal instructions from

Michelangelo.


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The Vistebule:Michelangelo takes all

Brunelleschiscomponents and bends

them to his will.The Library is upstairs.

It is a long lowbuilding with an ornate

wooden ceiling, a

matching floor and

crowded with corrals

finished by his

successors to

Michelangelos design.


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The Capitol, Rome,

the reconstruction of

which was planned by

Michelangelo about

1546, was his most

successful civic work

and a fine town-plannedachievement.

He not only remodeled

on symmetrical lines theapproaches to the piazza,

but also designed the

great palace facades on

the three sides.


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He superintended the

erection only of the

approach stairway, the

monumental double

flight of steps of the

palace opposite and, at

an earlier time (1538), ofthe statue of Marcus

Aurelius in the center of

the piazza, the remainder

being executed from hisdesigns by his

successors.


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Palazzo del Senatore

Palazzo dei

Conservatori Palazzo Nuovo


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The Palazzio dei Conservatori (1564-8) has a faade 66 ft high.

built in the mid-16th century and redesigned byMichelangelo with the first use of the giant

Palazzo dei Conservatori


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Palazzo Nuovo, built in the 17th century with anidentical exterior design to the Palazzo dei Conservatori,

which it faces across the palazzo.

Palazzo dei Conservatori


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The Palazzo del Senatore (1592-), completed by Girolamo Rainaldi(1570-1655) with slight modifications of Michelangelos designs, rises

90 ft high and has a rusticated basement behind the imposing staircases,

and giant Corinthian pilasters carried through two storeys, while above

the faade peers a campanile (1579), standing over the ancient

Tabularium, overlooking the Forum Romanum.


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The Capitoline Museum (1644-55), again carried

out by Girolamo Rainaldi, illustrates

Michelangelos method of securing unity bycarrying up a giant Order, a feature of all three

facades.


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The planning scheme is complemented by the fine

flights of steps leading right and left to the triple-

arched loggias designed by Vignola.


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TheEquestrian

The statue of

Marcus Aurelius


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Michelangelo devised a monumental wide rampedstair (the cordonata), gradually ascending the hill toreach the high piazza, so that the Campidoglioresolutely turned its back on the Roman Forum that it


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It was built to be wide enough for horse riders toascend the hill without dismounting. The railings aretopped by the statues of two Egyptian lions inblack basalt at their base and the marble renditions


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Cordonata (Italian noun, fromcordone, meaning"lineal architectonic element which emphasizes alimit") is a sloping road composed of transversalstripes ("cordoni"), which are made with stone


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Cordonata (Itali

an noun,fromcordone,meaning "linealarchitectonic

element whichemphasizes alimit") is asloping roadcomposed oftransversalstripes("cordoni"),which are made

with stone or bri


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S. Maria degli Angeli, Rome

was a daring experiment by which

in 1563 Michelangelo convertedthe tepidarium of the Baths of

Diocletian into a Christian

Church.


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This hall (200 ft by 80 ft) became

the nave of the church, but in 1749Vanvitelli transformed the nave

into a huge transept, places the

entrance on the west side, andformed a deep chancel on the east.


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The actual bases of the ancient

monolithic granite columns are 7 ftbelow the new floor constructed by

Michelangelo.


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This great master was also

responsible for many importantfeatures in the planning and final

treatment of S. Peter, Rome, which

is therefore dealt with under hisname.


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The work on Santa Maria degli

Angeli (1563-64) wascommissioned by Pope Pius IV,

and it was one of Michelangelo's

most unusual commissions.


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It involved the transformation o

the remains of the Roman Baths oDiocletian, a center of social and

physical indulgence, built in 305

A.D., into a Christian church.


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The massive complex's interior

was originally adorned withmarble of various colors, painted

stucco, and pagan statues.


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S. Maria degli Angeli, RomeMichelangelo used the huge space

of the central hall as the light-filled

and expansive transept of the

church. The project was completed

in 1564 by Jacopo LoDuca.


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St. Peters Basilica


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St. Peters Basilica

was "the greatest creation of the Renaissance",and a

great number of architects contributed their skills

to it. But at its completion, there was more of

Michelangelos design than of any other architect,

before or after him.


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St. Peters Basilica

St. Peter's The plan that was accepted at the laying

of the foundation stone in 1506 was that by

Bramante.


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Various changes in plan occurred in the

series of architects that succeeded him, but

Michelangelo, when he took over the

project in 1546, reverted to Bramantes

Greek-cross plan and redesigned the piers,the walls and the dome, giving the lower

weight-bearing members massive

proportions and eliminating the encirclingaisles from the chancel and identical

transept arms.


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Pope Julius' schemefor the grandestbuilding in

Christendom was thesubject of acompetition for which anumber of entriesremain intact in the

Uffizi Gallery, Florence.

It was the design

ofDonato

Bramante that wasselected, and for whichthe foundation stonewas laid in 1506.

This plan was in the


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The maindifferencebetween

Bramante'sdesign andthat of thePantheon is

that where thedome of thePantheon issupported by

a continuouswall, that ofthe newbasilica was tobe supported

only on four


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When PopeJulius died in

1513, Bramantewas replacedwith Giulianoda

Sangallo, FraGiocondoandRaphael.

Sangallo andFra Giocondoboth died in1515, Bramante

himself having

The main change


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The main changein Raphael's plan isthe nave of fivebays, with a row ofcomplex apsidalchapels off theaisles on eitherside.

Raphael's plan forthe chancel andtransepts made the

squareness of theexterior walls moredefinite byreducing the size of

the towers, and the-


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In 1520 Raphaelalso died, aged 37,and his

successor BaldassarePeruzzimaintainedchanges thatRaphael hadproposed to theinternalarrangement of the

three main apses,but otherwisereverted to theGreek Cross plan

and other features

On January 1, 1547 in


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J y ,the reign of Pope PaulIII, Michelangelo, thesuperintended the

building program at StPeter's.

Michelangelo tookover a building site at

which four piers,enormous beyond anyconstructed since thedays of Ancient Rome,

were rising behind theremaining nave of theold basilica.

Michelangelo

recognized the

Michelangelo has


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Michelangelo hasblurred thedefinition of thegeometry bymaking theexternal masonryof massiveproportions and

filling in everycorner with a smallvestry or stairwell.

The effectcreated is of acontinuous wall-surface that isfolded or fractured

at different

Thi t i i


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This exterior issurrounded by agiant order of

Corinthianpilasters all set atslightly differentangles to eachother, in keeping

with the ever-changing anglesof the wall'ssurface.

Above them thehuge corniceripples in acontinuous band,giving the

Michelangelos dome


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g

was a masterpiece of

design using two masonry

shells, one within the

other and crowned by amassive lantern

supported, as at Florence,

on ribs.

For the exterior of thebuilding he designed a

giant order which defines

every external bay, the

whole lot being heldtogether by a wide cornice

which runs unbroken like

a rippling ribbon around

the entire building.


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Interior


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The mostfamous Pietis Michelangelo'sPiet in St.

Peter'sBasilica inRome.


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END...

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