Comparative study b/w gothic and

rennaisance
PLAN
R– symmetry and proportion of parts
G-Picturesqueness and beauty of
individual features.
 R--Grandeur gained by simplicity
Fewness and largeness of parts have a
tendency to make the building appear less
in size than it really is.

G-Grandeur gained by multiplicity . In

consequence of the large number of parts,
the building appears larger than it really is
R--Towers are sparingly used, and when
they occur are symmetrically placed.

G-Towers are a general feature, and

are often crowned with a spire Small
towers, turrets,and finials help to
emphasize the vertical tendency
R--The dome is a predominant
feature.
• G--The tower and spire are
predominant features.
R--Interiorsof churches were
planned on Roman principles
and covered with domes and
pendentives.
The parts are few, the nave being
divided into three or four
compartments by which a general
effect of grandeur is produced.
G-Interiors are more irregular, and
are covered with stone vaulting or
open-timbered roofs The parts are
many, a nave of the same length as
a Renaissance church probably
divided into twice as many
compartments.
WALLS
R-These were constructed
in ashlar masonry of smooth-faced walling,
which, in the lower stories, was occasionally
heavily rusticated.
G-These were often constructed of uncoursed
rubble or small stones, not built in horizontal
layers ; also of brick and rough flint work
R- Materials are large, and carry out the
Classic idea of fewness of parts. Stucco
or plaster were often used as a facing
material where stone was unobtainable.

G-Materials are small in size, and carry

out the Gothic idea of multiplicity.
R-The use of the material according to its
nature was lost, the design being
paramount.

• G-Masonry was worked according to

the nature of the material to a new and
significant extent. each piece in a wall
• has its value in this style.
R-Angles of buildings often rusticated,i.e.,
built in blocks of unsmoothed stone, as
in Florence, or carefully indented with
patterns.
G-Angles of buildings often of ashlar
masonry or smooth-faced stone,the rest
of the walling being of rough materials,
as rubble or flint.
R--Gable ends of churches and buildings
generally were formed as pediments,
with a low pitch or of semicircular form.

G-Gable ends are steep, occupied by

windows, and crowned either with
sloping parapet or ornamented timber
barge boards.
 OPENING
R-Door and window openings are
semicircular. Openings generally come
over one another, and are symmetrically
disposed with reference to facade.
G-Door and window openings usually
pointed.Windows and doors were
placed where wanted, without much
regard to symmetry of composition.
R-The Classic system of moulded
architrave projecting from the wall
face was revived.
Doorways and other openings are
surrounded by such architraves,often
richly carved.
G-Openings formed in receding Planes
with mouldings of great richness,were
often provided with small circular
shafts and carved capitals.
 Roofs.
• R--Vaults are of simple Roman form without
ribs. Domes have usually an internal plaster
soffit or ceiling, and are painted in colored
fresco, upon which they depend for their
beauty.
G- Vaulting was developed by means of the
pointed arch, and depends for effect on the
richness of the carved bosses,on the setting
out of the ribs on which the severy of the
vaulting rests, and on the grace and beauty of
these curves
 COLUMNS
R-The Classic columns and orders were
revived and used decoratively in facade,
as in the Roman manner. and
structurally as for porticos.

The shafts were often rusticated,

fluted spirally, or wreathed with
bands of foliage and fruit.
G-Columns were entirely structural, or
expressive of pressures upon the piers to
which, sometimes, they were attached.

The relative proportion of height to diameter

does not exist, and the capitals and bases were
either heavily moulded or carved with
conventional foliage.
 MOULDING
R--The principal cornice plays an
important part in the style. Its bold and
impressive.

G-The parapet, often battlemented, or

pierced with open tracery took the place
of a cornice, and was less strongly
marked than the boldly projecting
Classic cornice.
- R--Cornices, balconies, string bands, and
horizontal features generally are strongly
pronounced, and by their frequency and
importance produce an effect of horizontality.
G-Vertical features, such as buttresses casting a
deep shadow, numerous pinnacles, turrets high
roofs, with towers and spires, produce an
effect of verticality.
 ORNAMENT
R-The human figure abandoned as a
scale, statuary being often much larger
than life-size.

G-The human figure adhered to as a scale,

'thus helping in giving relative value to
parts.
R-Stained glass was little used, all the best
efforts at color being obtained by means of
opaque decoration, as fresco or mosaic,
which was lavishly applied to interiors.

G-Stained glass was extensively used,being the

chief glory of internal decoration, and partly
traceried windows, which acted as a frame
• R- Great efficiency in the craft is
noticeable.the main reason is that the most
rennaisance architects were craftmen,painter
sculptor etc.
• G-carving was often grotesque and rudely
executed. Constructional features such as
arches,pinnacles and butteresses were
dominantin the exterior.