Week 8

The Problem of Mannerism and its Application to Architecture: Mid- Late Sixteenth-Century architecture in Rome, Florence and Northern Italy

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

                  ^^Palazzo Pitti Garden Facade
                  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

<<<Porta delle Suppliche, 1574<<Steps of SS Trinita," "            

week 7

S. Lorenzo(Medici Chapel) Facade 1521-1534Florence, Michelangelo
-built by Filippo Brunelleschi
-style: early renaissance
-first commissioned to put a facade on the church in 1516

-designed a large frontispiece intended to carry a great deal of sculpture

-made a wooden model giving an idea of Michelangelo's intentions(Peter Murray, 172)

-purpose of the chapel is to commemorate members of the Medici family

-there are two tombs which are of Lorenzo and Giuliano de' Medici(1524-26)

-statues of both men are placed above symbolic sarcophagi, each with two reclining statues representing Dawn and Twilight and Day and Night(1531-33)and were to be facing Madonna and child

-the alter arrangement was very simple and probably not by michelangelo

-the niche where the statues of Lorenzo and Giuliano are located are deeper than the two niches either side

-the negative emphasis is representative of mannerism

-mannerism can also be seen in the blind tabernacle above the doors

-one of the finest examples of mannerism

-the chapel has never been finished

-work on the new sacristy is representative of Brunelleschi's old sacristy

-he begins to utilize certain motifs that become important including frames for niches and segmented pediments carried on kneed brackets

-there are also paired pilasters and great architectural detail such as shallow scrolls and has mini cupula like the old sacristy

-there is contrasting pietra serena and white an homage to the Old Sacristy

-the use of details gives architecture a new complexity, there are beautiful carvings and the dome is ribbed with coffers like the pantheon and there is a use of roundels

San Lorenzo, Florence, Wood Model, Facade Elevation

Creator: Buonarroti, Michelangelo

 Style: High Renaissance

Design for Church facade of S.Lorenzo

Creator: Guiliano Da Sangallo

Drawing

Early Modern

15th to 19th century

The Biblioteca Laurenziana, San Lorenzo- begun 1524-34(Michelangelo) but finished 1559

Michelangelo, Florence

-built for the Pope, the Medici library

-Cardinal Julio Medici was the representative for the pope

-the floor level of the library is higher than the vestibule and is horizontal with books chained on carrels

-the room is much higher than it is wide or long

-almost the entire space is occupied by a giant flight of stairs

-stairs are consisted of center oval shapes with scrolls and then the sides are square

-the most striking feature of the vestibule is the way in which the columns are apparently sunk into the wall rather than standing away from it and they appear to be supported by a pair of brackets(use of buttressing)

-this quality of unexpectedness is associated with mannerism and Michelangelo

-the stairway was completed in the 1550s by Vasari and Amannati

Laurentian Library, Reading Room, San Lorenzo, Florence

Creator: Michelangelo

1525

High Renaissance

Redesigning of Capitoline Hill begun 1546

Rome, Michelangelo

-Pope Paul III Farnese        ^ ^Creator: Etienne Dupeirac 1569 "Capitoline Hill in Perspective"

-Michelangelo was asked to make a base for the statue in the center and to participate in renovations

-began the project working on the stairs- 1550

-stairs were used for horses and carriages to go up

-intended to enclose the entire space into a wedge-shaped plan-the oval in the center with a trapezoidal arrangement is a Mannerist element

-the wider end of the quadrilateral occupied by the palace of the senators and the shorter end opening up to the staircase which slopes sharply down the hillside

>>>Pope Paul III and Nephews, 1546, by Titian

Palazzo Dei Conservatori

-Michelangelo, 1564-84

-the most important innovation of the palaces was the introduction of the giant order which signifies public space

-the pilasters stand on high bases and tie together the two stories of the building

-smaller columns on the tabernacle windows on the upper floor and columns on the ground floor

-characteristic of the mannerist love of complexity

-the two story public palace had an opening in each bay allowing for a portico through the whole length of the building

-palace gave a merger of external and internal space

-use of a balister at the top for a balcony effect and it lightens up what is a really heavy cornice   

Palazzo Farnese 1517- 1564

By- Antonio da Sangallo the younger

Built for Cardinal Farnese who later became Paul III

-By far the largest and most magnificent of all Roman Princely Palaces

-A vast cliff-like block nearly 100 ft high and 200 ft long

-1541-46 was completed up to the cornice

-The great crowning cornice was designed by Michelangelo and completed most of the palace immediately following Antonio’s death

-Main façade is similar to the Palazzo Pitti in Florence

>>>>Farnese Palace, Rome, Facade

Antonio Da Sangallo the Younger and Michelangelo, 1517-64

-Its texture is obtained partly by rusticated quoins at the angles which diminish upwards by the arrangement of the windows

-The floors are separated by horizontal cornices and bands of stone above the window balconies at the level of the base of the small columns which frame each of the window openings

-Michelangelo contributed the large crowning cornice(very classical) and made the third story higher and also included the main window which appears to be pushed down by the Farnese Arms above it and pushed deeper into the surface of the wall

-The entrance to the palace is a single arch which leads to an impressive entrance tunnel(heavy classicism) due to Antonio

-would establish the next major building type a double piano noble

-the upper piano noble has triangular pedimented frames w/ arched windows

-for the cornice a competition was held b/w sangallo and other competitors... Michelangelo won

-Michelangelo increased the height of the building and completed the 3rd story of the inney courtyard

-inner courtyard used piers and arches and engaged columns

-the issue of a corner was solved

                                                                                                     

Porta Pia- begun 1562 

Michelangelo, Rome

-his form has become even more complicated

-is an insertion of a broken segmental pediment inside an unbroken triangular one

-shows great interest in contrasts of texture expressed in the smooth walling of the center part and the rough stonework of the side bays

-also there is inventive fantasy displayed in the window openings

-window shaped and design later would be used by Bernini and Borromini

S. Andrea in Via Flaminia begun 1550

Architect: Jacopo de Vignola

 -church dedicated to St. Andrews

reads like a mini pantheon but the drum is more rectangular

he would be one of several architects who wrote the rule of the 5 orders of architecture

Villa Giulia, Rome 1550-55

Jacopo de Vignola , Vasara and Bartolomeo

a suburban villa built for pope Julius III-

it is seen as an examplar of mannerist architecture, b/c of garden architecture and has a mannerist element of surprise ,when you look down the courtyard looks like you can keep going but it falls off at the end

-It emulates the Belvedere court and uses the motif from the Vatican Palace

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 

Ufitzi Palace 1560-74

Vasari Giorgio

-use of persepctive by an architect

-he created passageways 

Week 6

Old St. Peters
-A very typical 14th century church- was early Christian
-The “Old Basilica” was famous for being where the tomb of St. Peters is
-Had a timber pitched roof and a quite small apse
-Winds shifted the building almost 8 feet from its original location
-Summer 1505- Julius the II and Bramante decided to rebuild it
-For both what really mattered was the symbolism of the building
-The original idea was for a centrally planned building but the Latin cross was imposed on Bramante by the clergy
-Wanted the church to be a martyrium

St. Peter's, Rome, Plans,
Donato Bramante
Ink on Parchment
15th to 19th century



Bramante’s successor was Raphael 
-Raphael Was a relative of Bramante and took over as Capital Maestro till 1520 his death

-He had no experience as an architect and was recommended by Bromante because he was a great painter("The New Professionalism in the Renaissance" Wilkinson p.145)
>>>>>St. Peter's, Rome, Plan, from Serlio's "Five books of Architecture" Raphael
-This is significant in showing the confidence Italy had at this time in the genius of an artist
-Had extremely good relations with the papal court and was brought in by the Court of Urbino
-he introduced a second order in the area of the chapel windows and made the central section of the portico as wide as the whole dome
-Raphael made a Latin cross plan for the church
-Due to his lack of experience building on such a large scale he designed piers that were inadequate to support the weight put on them


Peruzzi joined Raphael
-Peruzzi's designs went back to the centralized plan
-revised the exterior into three pavilions with alternating pediments, the central one is triangular
-neither Raphael or Peruzzi did much actual construction
-Peruzzi died in 1536

After Raphaels death Antonio da Sangallo takes over

<<<Model for St. Peters, Rome 1539
-he had the most long lasting affect on st. peters
-began to redesign the building as a whole and repair damages from neglect
-made a longitudinally planned church
-had a wooden model- with a more shallow drum and higher lantern than Bramante's design
-he put the majority of his energy into the building of the model
-had a new shape of dome like a beehive
-also had bigger towers and a huge entry and columns on every story
-his greatest contribution was the widening of the nave through the addition of Cappelle Maggiori ("St. Peter's: The Early History" Frommel, p.419)
-died: 1546

Michelangelo succeeded Sangallo
-intent was to return to a Bramantesque form
-he took down walls put up by Sangallo and strengthened and simplified them
-made the church more centralized and connected it to the nave of old St. Peters
-had the same amount of stories but Michelangelo used monumental orders
-with pillars on the projecting (salient) parts and larger bays with curved windows on other parts
-significant because michelangelo thinks more organically about buildings like he does about the human form
-used a double shell dome(Brunelleschi)
-made it a Latin cross shape and he designed a slightly pointed dome which would be adopted by builders after his death
-he made a very detailed model so as it could be plainly seen how the dome would work

Villa Farnesina -1509-11
By- Peruzzi, Baldassare
Location- near the Tiber in Rome
-Is an early example of the villa type with a central block and projecting wings
-Is a U-shape, is a Villa Surbana
-The upper frieze has cherubs and swags with small attic windows between them
-The patron was the Sienese banker Agostino Chigi
-Significant because the ground story has a piano noble- unlike other palaces
-Peruzzi also painted the Sala delle Prospettive, a painting that gives the illusion of another room overlooking Rome
-Raphael did the paintings in the stable and guesthouse
-did garden painting in the loggia(called Loggia di Psyche) in 1518 which gave a sense of continuity b/w actual and painted architecture and gave an erotic atmosphere
-called the Triumph of Galatea painted 1512-1514


Palazzo Massimi- began 1532/35
By- Baldassare Peruzzi
Location- Rome
-Regarded as an example of Early Mannerism
-Two separate palaces for the two brothers built on a very irregular site
-The façade of the Palazzo Pietro Massimi contains mannerist elements
-Has a heavy basement with a piano noble and attic floors above it separated by a strongly marked cornice
-Columns have been moved down to the ground floor and rustication runs the whole height of the building
-Is strictly symmetrical
-The rusticated wall above the band at one third of the height, this section is separated into three by the large windows of the piano noble and then by two rows of attic windows that are identical in size- giving the building an uncomfortable air about it
-Main courts of both palaces were designed as a Roman atrium
-The lower order has pierced vaulting above it, a trick of perspective making the two floors seem visually equal
-The first floor loggia is richly decorated
-a normal piano nobile is not read, also there is column spacing that is wider at the center
>>>Palazzo Massimi alle Colonne



Palazzo Farnese 1517- 1564
By- Antonio da Sangallo the younger
Built for Cardinal Farnese who later became Paul III
-By far the largest and most magnificent of all Roman Princely Palaces
-A vast cliff-like block nearly 100 ft high and 200 ft long
-The great crowning cornice was designed by Michelangelo and completed most of the palace immediately following Antonio’s death
-Main façade is similar to the Palazzo Pitti in Florence
>>>>Farnese Palace, Rome, Facade
Antonio Da Sangallo the Younger and Michelangelo, 1517-64
-Its texture is obtained partly by rusticated quoins at the angles which diminish upwards by the arrangement of the windows
-The floors are separated by horizontal cornices and bands of stone above the window balconies at the level of the base of the small columns which frame each of the window openings
-Michelangelo contributed the large crowning cornice(very classical) and made the third story higher and also included the main window which appears to be pushed down by the Farnese Arms above it and pushed deeper into the surface of the wall
-The entrance to the palace is a single arch which leads to an impressive entrance tunnel(heavy classicism) due to Antonio
-would establish the next major building type a double piano noble
-the upper piano noble has triangular pedimented frames w/ arched windows
-for the cornice a competition was held b/w sangallo and other competitors... Michelangelo won
-Michelangelo increased the height of the building and completed the 3rd story of the inney courtyard
-inner courtyard used piers and arches and engaged columns
-the issue of a corner was solved

Pope Leo the 10th
-Leo X with cardinals Guilio de Medici and Luigi de Rossi
Creator: Raphael
-loved art and was a patron who spent too much on it and was a great supporter of raphael
-Cardinal Gulio roganized many of the popes projects

week 5

Todi, Santa Maria della Consolazione, 1504-1517
-Executed by Cola da Caprarola
located in Todi Italy
creator: Donato Bromante
-is a centralized church
-the interior is reminiscent of Tuscan designs, due to use of ribs and the placement of a larger second order on a lower order
-the exterior and interior harmonize
-has a high dome and has use of drum
-the dome was intended initially to be between two towers which are independent of the building
-have large apses and double pilasters

Raphael (1483-1520) 

Rome, Palazzo dell'Aquila, completed 1520
creator: P Ferrerio, based off Raphael  

-takes Bromante's ideas but the decoration is more complex when compared to Bromante's House of Raphael 

-it is richer in texture and the the decoration is not structural at all which is significant in its distinction
-all attention is focused on the piano noble 

-there are also columns on the ground floor which appear to be for support but are not, this became a stylistic trend which would dominate the arts in Italy for the rest of the century

-has alternation pediments triangular and semicircular, this is a new element associated with Rome and Raphael 

-empty niches which would have had statues and decorative swags-also at the top there are balisters to lighten the heavy cornice


Rome, Palazzo Caprini ("House of Raphael"), ca.1501-1510
Creator: Antonio Lagheri based off Bramante
located: Rome, Italy
-named after the painter Raphael

-it was probably built for Bramante himself, but later was lived in by Raphael

-was destroyed in the seventeenth century-shows Bromante's influence in the domestic palace
-prototype for modern classicizing palace particularly in Northern Italy
-It is a two story rectangular block
-the ground story is without orders and has heavy rustication it would have been used for stores
-the piano noble has Bromante's use of paired columns on independent pedestals

-It is significant because of its simplification and strict symmetry which is new-the windows have little balconies
-a trigliph frieze
-regular rhythm except for the bottom which has circle then square windows  

Rome, Villa Madama, 1518-1527
Creator: Raphael, Location: Rome, Italy
-building on a terraced sloping incline built into the hillside
-hanging gardens and fish pond
-has a 3 bay gallery
-orders going over multiple stones- more monumental
-there are cross mullion windows on the lower stories
-the pond is from a stream that was going down the hill
-the interior is a style based on real Roman painting-house of Niro
-use of grotesque, stucco and decoration
   Cardinal Giulio de' Medici, later Pope Clement VII (1523-1534)


The Tempietto (1502)
-Located in S. Pietro Rome in Montorio
- it is a small circular church built on the spot where St. Peter was crucified
-based off of the pantheon
-is called a martyrium
-it was conditioned by Bramantes desire to re-create antique forms in the service of modern christian needs
-a work of high renaissance
-consists of two cylinders: the peristyle and cella, the peristyle is low and wide and the cella is tall and narrow
-it is significant for being the first building to use the Tuscan order correctly, which was used because it was appropriate to the character of Peter 
-the frieze is carved with alternating metopes and triglyths, when looked at closely the metotypes are carved with liturgical instruments 

Belvedere Court (1506)
-Bromante's work on the Vatican Palace in Rome
-designed by Bromante
-an enormous amphitheater for Julius II
-is on three levels and stretches from the palace to a small villa called the Belvedere
-was 300 yards in length, with a large expanse of plain walling and on top there are arches and pilasters, the pilasters are paired and between each pair is a round-headed arch
- this treatment is similar to Alberti's division of the walls in S. Andrea in Mantua
-it was never completed and altered in the sixteenth century
-the intermediate levels had elaborate ramps and staircases and the whole design ended in a curved wall
-the open spaces between the arches have been glazed in because behind them are paintings done by Raphael and his pupils- this caused a loss of the original effect of lightness and shade that once was there


St. Peters Foundation Medallion
-struck on April 18th 1506
-drawing is what was thought to be Bramante's original project
-it is the only surviving drawing that can be regarded as certainly by him
-it says Templi Petri Instavracio meaning 'to restore, to revive, to bring to completion'
-they are deluxe records of high patronage that is being undertaken
-often could be quite large
-of St.Peters, it is what Julius II and Bramante were thinking about

I. Late Fifteenth-Century Architecture: Tuscany under the
Medici

Giuliano da Sangallo
>>Poggo a Caiano, Villa Medici, beg. ca. 1485
-to show it is geometric and controlled (in painting 1599 by Giusto Utens)
-built for the Singalo family
-there were garden towers for a beautiful view, the trees were planted in a pattern to be viewed horizontally
-typically associated with Lorenzo
- there is a temple at the front of the house creating the portico which has barrel vaulting, a central area to show prestige of the house
-the main level looks like a Roman Villa(antiquity)
-Has the Medici coat of arms and columns carried by entablatures
-windows with strong lentils and the openings are aligned with the interior
-there is now more of an apartment arrangement with clusters of rooms giving an increased sense of privacy.

   

Prato, Santa Maria delle Carceri, 1484-1506
creator: Guiliano da Sangallo
-location: Prato, Italy 
-Period:early modern
-pure greek cross
-has four equal arms and a small dome
-the covering is Bichrome a white and green marble -interior: ribbed dome supported on pendentives (like Brunelleschi's Pazzi Chapel).  
-exterior: has awkwardly proportioned double orders
-culmination of the early renaissance ideals of classical lightness and purity
- has closely paired pallasters on the exterior and goes from a tuscan to ionic order







Lombardy under the Sforza

-The Sforza family dominated the political scene from 1450 until 1499.
-The Sforzas particularly Lodovico il Moro were great patrons of the arts.
-Leonardo Da Vinci and Bramante worked for him for 20 years.
-When Francesco Sforza became a part of the dukedom the Tuscan influence was overlaid on the native Lombard tradition.


Leonardo da Vinci(1452-1519)
-was in Milan from around 1482-1499
-he painted the last supper while in Milan
-the Last Supper is located on the end wall of the dining hall in the monastery at Santa Marie delle Grazi
-it was commisioned by the Sforza to be the centerpiece of the mausoleum
-he had a preoccupation with the centralized church and did many architectural drawings of churches although he never built anything.

Donato Bramante (1444-1514)
 Milan, Santa Maria presso San Satiro, apse and sacristy, 1478-1486
-reconstruction of Santa maria San Satiro a small 19th century building in Milan
-east end is constructed as a perspective illusion
-are architectural planes and voids like in a painting, rather than three-dimensional solids(Brunelleschi)
-it is a Greek cross in a square inside a circle- typical Early Christian design
-exterior shows Florentine influence
Three Main Stages
-lowest is cylindrical in shape with deep niches set between pairs of pilasters and alternating with smooth walls
-second story has four arms of the Greek cross rising out of the cylinder, each arm contains a window and the roofs are gabled
-third level has a small circular lantern

 Milan, Santa Maria delle Grazie, apse, 1492-1497
-long, low nave and aisles, built by another architect in the 1460s
-very large tribune which rises into a polygonal drum and small lantern at East end
-apsidal projections on the three free standing sides, two are transepts and third terminates the choir
-independant, centrally planned building loosely attached to the long nave
-interior: one of lightness and clarity, with geometric patterns(painted wheel windows) 

Milan Cathedral 1387-1572

Period Medieval

style gothic