Giacomo Barozzi da Vignola, 1507- 1573
-his career illustrates the apparent rigidity of mannerist art
-he demonstrates the importance of correctness in the architecture of the third quarter of the sixteenth century
-his design of the Gesu, the mother church of the society of Jesus, meant that the copies of his design were carried all over the earth by Jesuit missionaries
-his architectural ideas may now be found from Birmingham to Hong Kong
-his first major work was the villa built for Julius III from 1550
-also the Villa Giulia and the vast palace for the Farnese family at Caprarola were his major works in secular architecture
S. Andrea in Via Flaminia, Rome, 1550-1554-he was secured commission due to his earlier work for Julius III
-it is the earliest of the three important churches he built
-it is significant for being the earliest example of a church with a oval dome
-this type of church would become popular in the seventeenth century
-he took a square plan with a circular dome over it and then extended it along one axis to get a extended central plan-the interior shows how the church went from a square to a rectangular plan
S. Anna dei Palafrenieri, Rome, begun 1572/2
-this church is significant for being the first to extend this oval shape to the ground plan-was done near the end of Vignola's life and is a small church in the Vatican
-the facade of the church is flat although the oval dome was expressed internally on the plan
-there a use of giant orders giving it a very mannerist and elongated look
-several late sixteenth and seventeenth century Roman churches descend directly from this oval church
Il Gesu, Rome 1568-?-by far the most influential of Vignolas churches
-original plans of 1554 were made by michelangelo, but church was not begun until 1568
-Vignola recieved a letter from Cardinal Farnese to Vignola stressing the importance of the preaching in the church and telling him to provide a wide nave and barrel-vault for acoustic reasons
-the church with its side chapels instead of aisles seems derived from the type of church by Alberti in S. Andrea in Mantua
-but, Gesu has a wider and shorter nave as well as shallow transepts
-shape is designed for audibility this is significant because a new importance was based on the acoustics of the building-it also has a great dome located at the east end over the crossing this allows for a flood of light to fall on the high alter and on the alters of the transepts
-the facade was not how Vignola had wanted it, it was done by Giacomo della Porta
-Giacomo's design is much like the facade of Sta Maria Novella in Florence by Alberti
-it has a two-storey design with scrolls on the side
-the inluence of the Gesu almost became the standard type of church plan and facade
Sta Maria di Loreto, Rome 1577
-Giacomo del Duca-born 1520 in Messina
-he broke into the pediment of the Antonio da Sagallo the younger church and inserted a large window with a drum and dome above it, so that the whole upper part is disproportionally large which is significant in that it shows mannerist form which had not been tried previously since churches were much more geometrical before
-may be argued that he had even less regard for strict rules of correctness such as balance than Michelangelo
-this type of mannerism did not prove popular for churches
-the more typical forms are those that are closer to Vignolas
Amannati, born 1511- died 1592
-in 1550 he was in Rome and began to work on the Villa Giulia with Vignola and Vasari
-was influenced by the architectural ideas of Vignola
-1555 he began to work for the Medici Duke, later known as the Grand Duke Cosimo I
-his most important work was the extension and alteration of the Palazzo Pitti from 1558-70
-he is credited with the vast wings at the back and the extension of the whole in an overwhelmingly grandiose rusticated form
-the rusticated order in the court and the effect of the texture seen from the gardens are the most significant aspects of Amannati's style
Bartolomeo Amannati, Florence,1558-70
This bold handling of rustication can be seen in Sansovino's Mint(La Vecca) in Venice,1536-45 >>>^^^His best known building is the bridge over the Arno, the Ponte SS. Trinita
-had been destroyed by a flood and was rebuilt by Amannati 1566-9
-it is significant for its very graceful flat arches
The Uffizi from 1560-by Giorgio Vasari
-was designed as government offices for the Tuscan State
-most significant thing about the design is the way the long tunnel-like shape is used for its dramatic effect
-the overall details are not that imaginative except for those done by Buontalenti after his death
Bernardo Buontalenti
-born 1536, died 1608
-he designed the Porta delle Suppliche
-a door with a pediment that is broken into two pieces set back to back
-he also designed a bizarre flight of steps for the alter of SS Trinita
-both are significant for his stray from the norm in his design
<<Steps of SS Trinita," "
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