Week 13

The Louvre 1665
-Bernini would begin thinking about these projects while in Rome
-his design is a typical roman palace when the recessed sides are taken away
-segmented to triangular pediments
-also has an almost rusticated basement
-a problem of scale is that when done on such a large scale elements don’t become a large boring block
-the recession of the bays on either side and the projection of end wings make it more interesting
-shows a classicism that is expanded and multiplied by four on this scale to express the role of the king

Villa Sacchetti di Pigneto  1626-30 
-Cortona, Rome
-was destroyed in the 19th century
-painting by Vanvitelli, Gasparo
-the building incorporates a number of motifs from the high renaissance
-the simple, symmetrical plan and concave wings of the Villa del Pigneto reveal Cornato's understanding of the phrasing of the Palladian winged villa
-it is a pleasure villa for the Sachetti family
-the facade is composed of a series of central ramps
-same context as the belvedere (nichionne) with the ramps and the niche design
-references earlier garden architecture but taking    
it to a new scale
-Cortona received much less recognition that Bernini or Barromini

Work on Ss Luca e Martina, 1635-64 
-Cortona, Rome
-acquired by the the academy of St. Luke, the newly founded artists society in 1588
-1634 Cortona elected the director of the academy it was completed in 1644
-it was personally and professionally important for Cortona giving him recognition for his design
-led from a renovation process to essentially an entire rebuilding project
-one of the issues for this church is the location, there is not much space so the design was restricted
-he has a superb sense of urban planning, seen by how monumental the building looks within such a small space
-designs a compact façade and made monumental b/c has a very high elevated dome which creates almost another 2 stories- becoming the tallest building
-as you approach it the transept falls away and you focus on the façade
-has projecting end bays with paired pilasters and then those angle inward creating a recessing area, next pair projects out and central portal projects out subtly
-the cornice projects out
-new drama of the way it is plastic in the use of these ornaments
-marked by a strong horizontal element emphasizing onjulation
-dramatic use of light and dark helps to mark out architectural qualities in the way the church is silhouetted
 -it is a domed Greek cross plan


Santa Maria della Pace, 1656-57, Rome
-cloister by bromante
-Pietro da Cortona did the façade 1656
-church that was built at a period of time having to do with victory over the French
-problem is by this time people are driving around on carriages, very crowded does not have straight streets
-solution masks the alleys
-classic temple in the round
-the available space was limited but Cortona disguised the restricted scale by allowing the boundaries of the church to fluctuate(p. 115, Varriano)
-has paired columns and a center bay with a window up above
-lower storey convex and arms concave and projecting ,masking other alleyway entrances
-keyhole shape pediment over the window on top storey making the façade more complex
-effective kind of theatrical element making church seem bigger than it really is

Borromini
-Born 1599 and dies 1667
-father was an architect
-did many of the decorative elements in St. Peters
-Maderno used him for his project drawing
-he and maderno requested to be buried in the same tomb
-was assistant to Bernini at St. Peters
-considered to be rather melancholic (thought to be artistic)
-not trained in sculpture and painting unlike bernini and maderno
-worked on other peoples project and as assistant till 1634
-more theoretically inclined
-it was thought he had intended to write an architectural treatise
-very interested in past architectural practice such as gothic


San Carlo alle Quatro, 1638-1641
-Borromini, Rome
-this was his first individual project
-at intersection of via sistina and crosses another street opened up by the pope who commissioned Michelangelo porta pia (via feliche), at intersection four fountains
-façade is done after rest of building
-first phase begins 1634
- received support from Francesco Barbarini
-begins with the monestary and the cloister
-each of the elements form a Palladian window, which he uses to link all the way around whereas it is usually used on only straight areas
-lentil is not straight but curves out giving a concave/ convex look

exterior
-onjulating bays
-use of giant order, fully engaged with the flow of the façade, flowing from concave to convex
-find the tiers are almost equal in importance, not a single unified story
-has a strong relationship to interior

-ballisters are one in one direction one the other direction a new motif
-interior of the church was commissioned 1637

-plan: sense of how confined the site was, very cramped
-cloisters are typically square/ rectangle, here is interestingly a shape that has a  very different feeling to it, b/c right angles close off movement
-here there is  continuous movement all around it, oval where its side are straight

-takes up themes we saw in the cloister and utilizes space to accentuate some of the same qualities of this active organic movement
-plan: shape is centralized with direction (oval), almost looks like an oval with pinched out shapes
-how do you measure out such a complex idea?
-by using geometric shapes within the shape
-characterized by projecting and recessing bays w/ concave and convex elements and a really strong horizontal cornice
-upper level is even more extraordinary as we look at geometric shapes when looking at the coffering of the ceiling 1665-67
-iconography is seen through architectural form, has three shapes (cross, ruby shape..)  all linked together in a perspectivally diminishing shape to make dome seem even further away

Oratorio dei Filipini 1637-50
-Borromini, Rome
-Located on the main thoroughfare from the Vatican
-the order called oratorians- able to preach w/o going though a theological structure
-use of material is interesting in contrast to church façade next door which uses travertine
-uses brick, extremely fine small bricks created specifically so areas that are curved have curved bricks
-had to be adjacent to church so façade is not equal on both sides, use of brick at ends frame the building
-there are monumental columns on the bottom stories and then smaller columns on the top storey
-use of pure geometry
-unusual octagonal type of shape in the plan of the building
-by using coffers on the upper story there is an illusionistic depth
-entire façade is slightly curved this is the first façade to do that
Interior
-probably appointed through regilio spatta?
-oratory completed b/w 37 &38
-corners do not come to a right angle again
-also interesting aspect if look at the orders, follow up and the columns become ribs up and over the vaulting
-use of reversed ballisters again
-there is vestige of a Palladian window not completely b/c have curved silhouette on sides- giving it a centralized space
-key hole shaped windows over the doors and on top floor

San Ivo della Sapienza, begun 1642 
-Borromini, Rome

-sat w/in the Sapienza

-buildings on either side are part of this university building

-circular courtyard termination 

-1642 appointed to work there 

-43- began church finished 1648 

-is one of the sites of which constrictions are quite severe, constraining the architects design

-creating a plan to build a centralized church to be incorporated into existing structures 

-use of kind of crowing element (dome and lantern)

-climaxes the space in an effective way

-alternating concave and convex surfaces 

-façade is concave topped by small attic with small towers 

-the drum is convex over the concave lower façade 

-there is a symbolism of elements as related to the concept of wisdom

-plan: extremely complex geometrical design 

-no right angles which is seen in many of Cortona's buildings 

-there is use of equilateral triangles creating a six point star to decorate the interior

-interior expressing the ribs of the dome, unusual type of dome and cornice b/c of onjulation

-uses decoration of the six pointed star 

S. Agnese in Agone, 1653-55
-Borromini, Rome 

-façade was originally on the other side, but changed to be facing the pope 

-would come in and begin to realize his design

-façade that is concave with oval steps, progressing and recessing 

-end towers frame the dome, would become a motif that would go throughout Europe -like that intended for st peters 

-attic more like st. peters 

week 12

Gianlorenzo Bernini 1598- 1680
-father was a sculptor
-at 9 began working w/ him and would be one of sculptors on the chapel for pope paul v
-would become the most famous artist in Europe
-was the favorite of eight successive popes including Urban VIII whose relationship was very important at the beginning of his career
-he was very literate, well liked, brilliant organizer
-created a studio that was able to produce and function for him on the many large scale projects he was involved
-was a family man and a religious man
-compared to Michelangelo and Raphael in that he was the personification of his age as they had been in theirs

Baldachin, 1624-33
-Bernini, St. Peters, Rome
-the was a problem of casting on such a large scale(90 ft tall) due to the large size of the pillars and it would take 3 years to cast them in bronze
-he designed spiral columns inspired by those still in the basilica from the high alter of old st. peters which according to legend, had been brought by Constantine from the temple of Solomon in Jerusalem
-there was a combination b/w architecture and engineering to solve the problem
-it is not solid, illusionism of materials is used
-theatrical approach, element of dramatic qualities
-cornice looks as though solid brick guilded, material of scrolls are actually wood w/ brass sheets over them
-thinks about architecture as though figural sculpture
-columns in barlequino look like the columns of old st. peters
-makes the tassels to seem as a material rather than bronze

-spiral columns have olive branches on them- actually took olive branches and guilded them
-he has a playful side shown by use of symbols a bee the barbarini bees(for pope who commissioned it) laying the identity of the pope onto this sacred work
-assistant he was using may have contributed to some of the more practical notions (boromini) he probably designed the ornate scrolls at the top of the Baldachin

Cornaro Chapel 1645-52
-Bernini, Rome
-the left transept of S. Maria della Vittoria
-sense of rhythmic alternation of concave and convex, having multiple planes
-Bernini possessed the unique ability to capture, in marble, the essence of a narrative moment with a dramatic naturalistic realism which was almost 
shocking.

-the chapel is decorated with stuccos and frescos
-view of side figures, 1647-52, Bernini--->
<--Ecstasy of St. Teresa

Four Rivers Fountain 1648-51
-Bernini, Rome
-obelisk and relationship of fountain to entire urban space, water is to elevate obelisk even higher
-had members of his studio execute this
-see interest of art and nature, uses different kinds of water effects in the sculpted elements
-at top of obelisk is a dove with an olive branch (dove represents Christianity, holy spirit and olive branch represents the arch suggesting the domination of Christianity)

S. Andrea al Quirinale 1668-1671
Bernini, Rome 
-was built for the Jesuit novitiate with financial assistance from the members of the Pamphili family, descendents of the late Pope Innocent X
-creates an ovally planned church due to the space given due to being on the street
-gives more space. the site is shallow and constricted
-chose a transverse oval for the plan because the space was wider then it is deep
-exterior and interior can be read as communicating some of the same ideas
-on façade connecting it to other buildings are concave wings on the sides
-alternation of concave and convex up and down and across
-idea of a projecting porch rather than a flat façade
"reaching out to welcome the congregation" (Varriano, 91)
-interior carried out in a very rich marble (red and white)
-pilasters and engaged columns to put attention onto the alter, and it is illuminated by a lantern giving of a golden light

-broken pediment (Baroque) at the top is St. Andrew going up towards the dome and seems to be a symbolic heaven
-he uses sculpture to tell a story
-on the lantern there is a ring of little cherubs and in the base of the lantern is a dove of the hold spirit
-very strong connection b/w natural and architectural
-use of coffering and ribs denies the traditional structure of each

St. Peters Facade 1626
Carlo Maderno, Vatican City, Rome

Early Baroque architect- Carlo Maderno
-he makes the step from renaissance to baroque
-w/ his use of a new scale and a sense of theater
-projecting and recessing elements have a kind of dynamic quality in a monumental and theatrical way
-façade of st. peters stands out as a different and monumental look
-use spacing for an emphasis on the central (1626)
-now is a kind of movement of the entire surface not just the orders
-center almost standing out as a separate unit
** Bernini proposed towers, similar to those planned by Maderno, (1637) but cracks began to appear in the substructure and work on them was abandoned

St. Peters Square 

-Bernini, Vatican City, Rome
-Pope Alexander VII was elected in 1655 and called for a great colonnaded piazza

-1656 given commission to regularize the external space

-need to accommodate large crowds for function of the pope and wanted to accommodate visual appearance of façade and dome from a distance

-his idea of pilgrim approaching St. Peters would be that you would see indicators of it from afar such as the dome only would have been experienced once one entered the oval and then the trapezoidal area

-piazza he creates has a double portico which is lower so the entire façade would be visible

-had to take into account the obelisk 

-from correct perspective appears to be only one column on the loggia although there are four 

*unusual that there are Doric orders yet there is no triglpth metopy frieze 

-he did not intend you to approach straight on, he intended it to be a keyhole shape(a small trapezoid with a large oval)
-four rows of columns converge, overlap and separate

Scala Regia, 1663-66
-Bernini, Vatican Palace, Rome
-Alexander XII
-a grand ceremonial staircase leading from the narthex of the Basilica and North Colonnade into the Vatican Palace 

- the regularity of the columns changes illusion that it is equal, the space is in a trapezoidal rather than rectangular form
-Bernini, "Made every effort to construct a handsome but functional corridor in an anomalous space with a minimal amount of recognizable artifice" (p. 86, Varriano) 

-Venetian window shape is used 

-distance b/w columns and wall are different 

-at the landings he would also create other sculptural elements from castille to the palace

week 11

Villa Rotonda, begun 1551
-Palladio, Vincenza
-it is built out of stone with stucco on top
-it is a villa surbana and so in Palladio's mind was a more formal building
-this pedimented temple front becomes a system to identify patrons as having nobility
-it is completely symmetrical on all four sides
-has four entrances
-is the most famous villa in the four books of architecture
-he uses the pantheon for inspiration
-the principle room of the villa is at the center and is lit by a dome, this is seen in many of Palladio's villas
-there are at least three copies of this villa that were built in England one of which is Lord Burlington's villa at Chiswick

Villa Pisani 1552-55
Palladio, Montagnana 
-built for Cardinal Francesco Pisani
-combines an urban front and on the other side a rural frontage extending into gardens
-there is no obviously visible piano nobile
-has ionic over doric columns
-a doric frieze runs uninterrupted around the building
-there is a loggia on the garden facing side



Il Gesu, Rome 1568-84
-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 patron: 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 (tabernacle)
-the influence of the Gesu almost became the standard type of church plan and facade

Santa Susanna, Facade 1597-1603
-Carlo Maderno, Rome
-similar design to Il Gesu
-following new type of double tabernacle facade which is tighter more integrated and more dynamic
-there are pilasters above pairing with columns below
-use of scrolls to transition
-there is a use of a monumental order and an attic story much like michelangelos ideas at st. peters


Farnese Villa, 1556-73
Vignola, Jacopo de Giacomo, Caprarola

Farnese Villa, Caprarola 1556-73 

-Jacopo de Vignola

-a summer home for the Farnese family

-patterns are created in the gardens as if being seen from above

-shape is based on an old fort

-has a carriage house with pialsters of rusticated stone

-it is a transformation of a carriagehouse into a renaissance palace 

Villa Emo, 1564

Palladio, Fanzlo

-from the four books of architecture 

-designed for the Emo family of Venice
-showing domestic architecture
-house is framed by two colonnaded wings
-wings are very long which symbolic of prosperity
-the structure has a geometric rhythm
-has a temple front

Villa Barbaro, 1557-58
-Palladio, Maser

-a country villa which Palladio collaborated with the Barbaro brothers
-it is a well preserved example of the simple farm type of villa
-inside the building are illusionistic frescoes by Veronese, showing some of the earliest examples of landscape painting on a large scale
-the main idea of the villa is a main body with wings that go out to endings
-the front is a temple composition
-this combination of great painting and great architecture is a feature of Baroque style

Tempietta Villa Barbaro, 1580
-Palladio, Maser
-it is the realization of a classical Renaissance church
-centrally planned
-it references the pantheon
-it is a chapel attached to the Barbaro estate so it did not need to be large




The Teatro Olimpico, 1580
-Palladio, Vicenza
-an attempt to reconstruct the antique Roman theater as described by Vitruvius
-based on the ancient Roman principle of a fixed and elaborate architectural backdrop or proscenium with the stage in front of it
-the auditorium is half-elliptical
-the seats rise sharply to the level of a colonnade which runs round to the back of the theater
-the stage setting gains the effect of perspective in the streets with a small space by sloping the backstage upwards and narrowing the passageways

Sant. Andrea 1470-76
Battista, Mantua

S. Andrea was designed just two years before Alberti died. Much of the church was not completed until the eighteenth century. The plan of this church is a Latin Cross type. In S. Andrea there are no aisles but a series of alternating large and small spaces opening off the nave at right angles to it. The larger spaces are used as chapels. The nave has a tunnel-like character. Alberti was modeling off of roman prototypes in hi interior. The nave of S. Andrea has a barrel-vault with painted coffers. It is by far the largest and heaviest nave since classical times. Due to this weight enormous abutments(solid masonry placed to resist the lateral pressure of a vault) carry the weight of the vaulting. This type of Latin cross plan was very widely copied in the later sixteenth century. The facade has an interlocking of a classical triumphal arch with a classical temple front. You can see in this building and other later building designed by Alberti that he was much more dependent on Roman prototypes.

San Giorgio Maggiore, 1560-80
-Palladio, Venice
-a church for the monks of Santori
-has a marble facade and the transept is in brick
-in the plan you can see a development of a new spatial area for the alter
-it has an extended apse with a choir in it
-the dome of the church is framing the pediment
-Palladio tries to include Roman architecture in the transept and he is interested in the sense of mass and volume seen in Roman remains
-the church has a palladian window and a triumphal arch with a temple front like in Manchua
-the chapels of the church are not deep but are embedded in the wall giving an open and spacious effect

The Redentore, 1577-92
-Palladio, Venice
-after the terrible plague of 1576 Palladio was commisioned to build this church
-it was decided that the church would be longitudinal although palladio would have liked it to be centrally planned
-the space to build was constricted by buildings already there and it was built up on a platform
-it has a spacious transept where the doge and main members of the government would sit
-it has an apsidal shape much like Christian churches
-at Rendentore has three pediments, the large central one is set against a high, rectangular attic-- this builds up the composition towards the great dome and gives a compact total effect
-the side parts at Redentore are not true aisles but merely the end walls of the side chapels
-the way they are seperated is similar to how the Roman baths were seperated from each other

The Rendentore and S. Giorgio Maggiore
-both churches were visited in state by the Doge once a year a Venetian custom
-another factor that determined the design of these churches was that there was the splitting up of the choir into two choirs and the design of the church is for this reason
*perhaps the most striking feature about both churches is the invention of the open screen through which the spectator in the nave gets a glimpse of the monastic choir
-both have peculiarities in plan
-the facades of the churches are new solutions to the old problem of designing a classical facade for a basilica type of building
-the first step to solving the problem by combining the antique temple with the christian church
-Palladio used the interlocking of two separate temple fronts
-the nave at both is treated as a high but narrow temple with four large columns on high bases supporting a strongly marked pediment

Barberini Palace, 1628-38
-Maderno, Bernini, and Borromini, Rome
-Pope urban VIII
-has a winged plan, u-shaped unusual among Italian city palaces
-may be based on the famous villa farnesina in Rome which also consists of superimposed arched loggias
-The fact that it is three stories reminds us of an urban palazzo, but the arcade on the ground floor and the U shape of the building call to mind suburban villas. So what we have is a villa plan and portico, but with an urban scale and three story urban palace feeling.

The perspectival feeling on the third story is given to Borromini, even though Bernini is credited with much of the building. Borromini is also credited with the monumental interior staircase. Borromini was often left in charge of areas of Bernini's work as he got more busy.
In the plan we can see that the portico, which seems simple at first, from the outside, runs deeply into the ground floor of the building. The use of double vaulting can be seen in the plan, as can the fact that hallways are still not present in the design of the palazzi. The rooms are still moved through by the use of interior doors.

Fountain of Moses
-The Acqua Felice is located on the Via dell'Acqua Felice, in Rome
- Constructed in such a way as to echo the Triumphal arches of antiquity, the attic level of the fountain features a prominent Triumphal inscription
-The statue of Moses below in the middle niche is meant to draw a connection between the patron, Sixtus V, and the prophet as both being bringers of water
-Sixtus V would undertake several projects such as this one during his reign as Pope. His projects for urban transformation would reset the patterns of the city, creating new focal points for the population with piazzas
-Sixtus V would also employ Domenico Fontana to make use of the obelisks that were lying around Rome at the time. He would have them placed in front of major monuments around Rome in order to guide people to important sites.

week 10

House of Giulio Romano, 1540 
-Giulio Romano, Mantua
-facade can be described as a parody of Bramante's house of raphael
-the string-course is peaked in the center to form a sort of incomplete pediment
-this in turn presses down on the keystone of the flattened arch below it, a deliberate reversal of Bromante's ideas (p. 160, murray)

Palazzo Corner della Ca'Grande, begun 1533-70
-Sansovino, Venice
-the only major building by Sansovino in Venice
-the palace is an attempt to regularize the Venetian palace type which it would do
-can be seen in later examples such as Palazzo Pesaro and Palazzo Rezzonico
-has a rusticated basement like the House of Raphael and the triple arched entrance of the Palazzo del Te
-the ground floor has small windows with mezzanines above
-the piano nobile and the floor above it are treated equally with the windows being placed between double columns
-the side windows have individual balconies while the three windows in the center have one shared balcony
-this shared balcony emphasizes the center of the building

The Mint (La Zecca), 1537-1545
-Sansovino, Venice
-3 stories was at first supposed to be 2, so there are 2 cornices
-its purpose was to hold the bullion reserves of the Republic
-Sansovino introduced the rustic order to Venice through The Mint
-it is reminiscent of the Palazzo del Te
-the facade is fortress like because of its heavy rustication and banded columns
-this is to give off the idea you can't get in, further shown by there being no centralization and no door
-the entrance to the mint is through the library
-doric orders are used showing strength


Basilica Palladiana, 1549
-Palladio, Vicenza
-it is the recasing of the old basilica in Vicenza
-his solution to supporting the old basilica was to buttress it externally by a double loggia
-to maintain a classical facade Palladio had Doric orders on the first floor and Ionic on the upper floor
-the great piers with attached columns provide the support and the spaces between these points are filled with large arches and smaller columns
-the light and shade emphasizes the architecture of the building
-the entablature breaks forward over each of the columns which emphasizes the projections
-the angles of the building seem to be solid and heavy due to the effect of the doubled columns at each end

Palazzo Porto, 1549- 1552
-Palladio, Vicenza
-derived from Bramante's House of Raphael
-shows a reconstruction of the ancient type of house with symmetrically disposed blocks on either side of a great courtyard
-the courtyard has columns all round it, which appears to be a reconstruction of the classical atrium
-the building is completely symmetrical
-the sequence of room shapes which are each proportional to the one next to it, were to become the basic principle of Palladio's villas (Murray p. 214)
-Palladio's use of classical forms, mathematical harmonies, and symmetrical disposition is very prominent in his buildings

Palazzo Chiericati begun 1550s
-Palladio, Vicenza
-the actual palace is relatively small and the open loggia take up a disproportionate amount of space
-another example of the correct use of the Doric and Ionic orders
-the portico has stairs leading to the street and above it is a triparteid composition
-there are doubling orders which express an organization which is loggia-room-loggia
-the orders show stability
-there is a solid over a void
-each order has statues and there are winged victories over the windows


 Palazzo Thiene, 1537-42
-Palladio, Vicenza
-the basic model for this type of palace can be seen in the Palazzo del Te
-has tree like rustication above the windows
-all the rooms are proportional to each other but, they now have the added interest of variety in their shape
-that there is a variety in room shapes derives from the Roman baths showing Palladio's use of classical themes in a modern domestic use
-has heavy rustication and rough keystones above the windows that is tree like

Palazzo Valmarana, 1565-66
-Palladio, Vicenza
-the end bay has a pedimented window and a statue
-whereas all the other bays of the piano nobile have rectangular windows set between the columns of giant orders
-use of a giant order with smaller pilasters on the ground floor supporting a straight entablature seem to be derived from Michelangelo palaces on the capitol
-the attic of the building is given a new prominence, it projects and the windows are larger than attic windows usually are

Week 9

Loggia del Cosiglio, 1500 
Fra Giocondo, Verona
-arches on columns and also has pilaster showing that it is transitional
-each column is a different color, which is using local materials
-there is a use of grotesque motifs, painted decoration
-also has statues as a vertical emphasis
-significant because it seems to be in a serious transition of styles between classical and mannerism

Loggia Cornaro, 1524
Giovanni Falconetto and Alvise Cornaro, Padua
-loggia was meant for a theater, in the antique style of theater its sole purpose was to be the re-creation of an ancient theater
-it is questioned whether Alvise Cornaro was masterminding the building
-is an odium which is designed for music
-elements of the building such as alternating pediments signal the adoption of a Renaissance style

Palazzo Bevilacqua begun 1530
Michele Sanmicheli, Verona Italy
-owes a great deal to the new mannerist ideas because of the very complex interplay of motifs on the facade some which can be traced back to Giulio Romano
-It is significant for having a texture that is much richer than many other building of this period
-the basement is heavily rusticated, also has an order of banded pilasters
-richly carved keystones in the window heads
-mezzainine windows on the piano nobile are small and there is sculptures and a rich cornice
-all of which are contribute to Bevilacqua becoming a mannerist exemplar
-the main entrance is on the left giving the building a ABCBCBA


Palazzo Canossa later 1530s
-Sanmicheli, Michele, Verona
-similar to the House of Raphael because of its rusticated basement and a smooth piano nobile with large windows separated by pairs of pilasters and also has a complicated texture
-the facade is simply articulated by coupled pilasters and large round headed windows, also there is a marked horizontal stress due to  the impost moulding continuing on either side as far as the pilasters, and is linked by a flat panel like shape running from the windows behind the pilasters and out again into the next window bay
-it is a departure from the type of a Roman palace in favor of a form more reminiscent of Peruzzi's Farnesia
-also recalls Giulio Romanos Palazzo del Te because it has triple arches at the main entrance and there are mezanine windows on the ground floor

Ca' d'Oro 1422

-Giovanni & Bartolomeo, Venice
-built for the Contarini family
-similar in style to the doges palace with the shape and size of the windows
-it is a venetian palace
-has a venetian gothic style mixed with byzantine
-has a double arcade with wide openings on the groud floor and and narrow ones immediately above it
-the recessed colonnaded loggia gives access to the entrance hall directly from the canal
-the palazzo is built around a smaller inner courtyard
-stands on the grand canal
-House of gold
-the facade is assymetrical to let in a lot of light
-quatrefoil motif was very popular (a Gothic design) as were rounded arches (influences of Byzantine and Romanesque architecture)
-The asymmetrical organization and large windows are reflected in the plan, with a large central room, or spine, designed to pull light down the center of the building so that it could dissipate into side rooms
-All Venetian houses had wells, but few more wealthy families could afford to have their wells inside, and some even had interior gardens, like the Ca d'Oro

Palazzo Grimani at S. Luca, begun 1556

-Sanmichelle, Michele, Venice
-built for the Grimani family
-inspired by the triumphal arch
-on the grand canal and is long and narrow in plan
-it is no longer gothic like ca' d'oro but now takes on a more renaissance style
-the first floor is the water story and there is no longer rustication showing this to be the main story
-in between the storys is a balister that goes across the whole building
-there is an alternating fenestration with the bays, keystones and victories in the spandrels


Libreria Sansoviniana, 1536-88
Piazza San Marco, Venice, by Sansovino
-occupies one side of the Piazzetta of St Mark's facing the Doge's Palace
-was originally founded by Cardinal Bessarion in 1468
-one of very few buildings named after the name of its architect
-Palladio in 1570 referred to it as, "the richest and most ornate building that has been put up perhaps since the time of the ancients"
-Sansovino had to design a building that would not minimize the importance of the other two buildings but must also stand up to both
-the library has a long unbroken facade which runs parallel to the long facade of the Doge's Palace and and has a matching return facade on the waters edge
-he keeps the roof line lower than the Palace
-uses a great deal of decorative sculpture and an extremely rich texture of light and shade
-the heaviness of the Doric order is a reference to the classical prototype and is very Bromantesque
-because of the use of the Doric order Sansovino's building was referred to as a model of correctness


Casino Pius IV 1560-63
Rome, Pirro Ligorio
-Gardens outside the Vatican
-little set of two palaces facing each other
-palace is 3 stories with surface ornament like Raphael palace
-entrance is similar to the Palazzo Massimi, but it is much more vertical with an ornamental surface
-the 2nd story has no windows which is ambiguous a mannerist notion
The Facing Building- the Loggia and Courtyard
-has Peruzzi like windows
-it is from a formal point of view with a simple loggia open on both sides
-architect was also an archaeologist and was interested in uncovering classical antiquities which can be seen through the sculptures and highly decorated facade

Belvedere Niche, 1560
Rome, Pirro Ligorio
- it has Vatican antiquities such as the large pinecone in the center these antiquities were designed to be part of the overall display
-it is contemporary to the culmination of the Belvedere
-called nichione- the big niche
-it is associated with mannerism because of the scale expansion all the way to the top of the cornice