M07 Italian Renaissance terms
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ch-12-PPTaccessible.pptxArchitecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 12
Italian Renaissance
1400 – 1600
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E. Renaissance
Period of intense interest in classical antiquity
Meaning “rebirth,” evident in Italian literature, culture & art
Result of study of ancient text & structures
Greek & Roman forms & details first in Florence, Italy
Affluent, learned patrons
Applies classical vocabulary & forms to contemporary buildings but rare in interiors & furniture—few sources
Coincides with humanism, scientific studies, new inventions in navigation, mechanics & warfare, & printing press
Times more settled, manners & fashion important
Warfare, travel, books spread Italian Renaissance to rest of Europe
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Italian Renaissance
Return to classicism in culture, art & architecture
Renaissance a new era, separate from the Middle Ages
A rebirth of classical antiquity
Begins in Florence, c. 1400
Wealthy city, much building activity, educated patrons
Artists, architects, sculptors study ancient buildings
Strive to compete with or surpass them
Extraordinarily creative—significant buildings, architects, artists
Italian buildings, interiors & furnishings imitated across Europe
Foundations for later stylistic developments
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Concepts
Based upon, does not copy, classical antiquity
Designers strive to create modern works that vie or surpass ancient ones
Adopt classical language, approaches to design, & direct observation of nature
Study & measure Greco-Roman monuments & ancient texts
Vitruvius’s Ten Books on Architecture
Mathematical approach as rational base
Linear perspective & composed of simple ratios
Motifs: Classical columns, pediments, moldings, figures, cherubs, swags, arabesques, rosettes, cartouches, geometric patterns
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12.1
Architectural Details: Watercolor of ceiling in Sala detta de Santi Ponteficie, Appartamento de Borgia, c. 1520-1527. Vatican, Rome, Italy. Italian Renaissance.
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12.2
Motifs: Top from left: Candelabrum, Piccolomini Library, Siena Cathedral, Siena, Italy; ornament, Florence, Italy; Della Robbia roundel; Bottom: ceiling painting of grotesques, Palazzo Vecchio, Florence, Italy.
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Architecture
Return to classical orders; adoption of classical forms; mathematical approach to design
Whole number proportions from musical harmonies
Application of classical elements to previously unknown building types a fundamental design problem
Early Renaissance (1420-1500)—classicism not well understood; experimentation with orders, proportions, construction methods; tension, mistakes; Florence
High Renaissance (1500-1527)—theories give understanding of classicism; follow rules; stable, balanced; Rome
Late Renaissance (1527-1600)—some continue High Renaissance; others create parody of classicism called Mannerism & deliberately break rules; no single city dominates
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12.3
Ospedale degli Innocenti (Foundling Home), begun 1419; Florence, Italy; Filippo Brunelleschi. Early Italian Renaissance.
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12.4
S. Maria Novella, Latin cross plan 1278-1350; façade begun 1456; Florence, Italy; façade by Leon Battista Alberti. Early Italian Renaissance
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12.5
Tempietto (S. Pietro in Montorio) and floor plan, 1502; Rome, Italy; Donato Bramante. High Italian Renaissance.
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12.6
Palazzo della Ragione (Basilica), 1545-1617; Vicenza, Italy; Andrea Palladio. Late Italian Renaissance.
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12.7a
Palazzo Medici-Riccardi, begun 1444, Florence Italy; Michelozzo di Bartolommeo. Early Italian Renaissance.
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12.7b
Palazzo Medici-Riccardi cortile, begun 1444, Florence Italy; Michelozzo di Bartolommeo. Early Italian Renaissance.
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12.8a
Villa Barbaro and plan, c. 1570, from I Quattro Libri dell’archiectura (Four Books on Architecture); Andrea Palladio. Late Italian Renaissance.
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Long Description:
The floor plan depicts arched main entrance with sculptures, and façade with arched entrances and columns. The illustration depicts the main entrance has dome shape on the top. The side wings have towers. The towers and the top of the main entrance have sculptures. The facade has arched entrances supported by columns.
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12.8b
Villa Barbaro Sala, 1550s; frescoes by Paolo Veronese. Late Italian Renaissance.
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12.9a
Villa Rotonda (Villa Almerico-Capra), 1565-1569; Vicenza, Italy; Andrea Palladio. Late Italian Renaissance.
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Long Description:
The villa Rotonda has a podium is the area for service. The front steps are in the center of the villa, and the facade is plain. It has a Portico. The pedimented windows are cornice at the top and have a pillar of Roman ionic capitals. The temple front on four sides has a pediment with tiles, sculpture accents pediments, and a low dome.
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12.9b
Villa Rotonda (Villa Almerico-Capra), floor plan and central circular hall (rotonda) 1565-1569; Vicenza, Italy; Andrea Palladio. Late Italian Renaissance.
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Interiors
Unity becomes important concept
Artists, artisans work in common classical vocabulary
Few architects design entire interiors
May design some elements, but leave rest to artisans
Rectangular spaces; walls, floors, ceilings relate to each other
Important rooms lavishly decorated but sparsely furnished
Churches traditional decoration
Symmetrical, formal, majestic
Carefully planned proportional relationships
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12.11a
Nave and floor plan, Santo Spirito, begun 1434 by Filippo Brunelleschi and completed 1481 by others. No one completed the façade which is plain and unadorned. Early Italian Renaissance.
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Long Description 1:
The nave has a pulpit, an altar, foliated capital, and an apse at the center. It has a columned arcade with pointed arches separating the side aisles, cluster columns that look like stained glass windows, response on each floor covered with triforium, and ribbed vaults at the ceiling.
Long Description 2:
The floorplan depicts from top to the bottom the altar area with a dome on the top, the transept, narrow window, and nave. The nave arcade with columns and arches is in the middle. The side aisle and main aisle are from the top to the bottom. The plan is a Latin cross. The main entry is on the center axis.
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12.12
Vestibule, Laurentian Library, 1524-1533; staircase completed 1559; Florence, Italy; Michelangelo di Buonarroti Simoni. Late Italian Renaissance.
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12.13a
Bedchamber, Palazzo Davanzati, mid 14th century; Florence, Italy. Early Italian Renaissance.
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Long Description:
The bed chamber has a beamed ceiling and Corbel. The walls are decorated with trompe l’oeil painted arcade, and trompe l’oeil decorative paintings on walls. The shutters block light. It has four poster beds with bed hangings. The fireplace has wedge shaped hood. The Sadia is in the hall. The floor is tile or brick floor.
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12.13b
Fireplace, Room of the Parrots, Palazzo Davanzati, mid-14th century; Florence, Italy. Early Italian Renaissance.
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12.14
Studiolo of Francesco de Giorgio Martini, Ducal Palace, c. 1478-1482; Gubbio Italy. Giuliano da Maiano. Early Renaissance.
Image ©The Metropolitan Museum of Art/Art Resource, N Y.
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12.15
Textiles. Italian Renaissance.
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12.16
Lighting: Torchiera, candelabrum, and candlestick. Italian Renaissance.
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Furnishings and Decorative Arts
Rectilinear & massive; classical ornament & proportions
Columns, pediments first on church furniture
Later on domestic
Ornament: turning, carving, inlay, painting, gilding
Early Renaissance—simple with sparse, low-relief carving
High Renaissance—grander, more influenced by architecture
Late Renaissance—based upon Michelangelo’s work; figures, exaggerated scale, unusual architectural motifs; sculptural; classical proportions & purity of ornament decline
Walnut main wood
Types: seating, tables, storage, beds
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12.17
Sedia, 15th-16th centuries. Italian Renaissance.
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12.18
Folding X-chair or Savonarola, 15th century; named for Savonarola, a monk. Italian Renaissance.
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12.19
Sgbello or stool chair, 16th century. Italian Renaissance.
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12.20
Casapanca, 15th century. Italian Renaissance.
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12.21
Table, 16th century. Italian Renaissance.
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12.22
Cassone, 16th century. Italian Renaissance.
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