RENAISSANCE

T R A e y E e o o P E R

A B B E Vil l E

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ABBEVILLE PRESS PUBLISHERS

NEW YORK LONDON PAR I S

 ARCHITECTS
Galeazzo Alessl (1512-72)
Santa Maria di Carignano
(1552), Genoa
Bartolomeo Ammannati
(1511-92)
Garden facade (1560),
Pitti Palace. Florence
Donato Bramante
(1444-1514)
11Tempietto (1503), Rome;
Caprini Palaee (1510), Rome
Filippo Brunelleschi
(1377-1446)
Cathedral dome (1420-34),
Florence
Jean Bullant (ea. 1520-78)
Valois Chapel (1578), SI. Oenis
Mauro Codussi
(ea, 1440-1504)
San Miehele in Isola (14705),
Venice
Peter Flotner (ea, 1485-1546)
Htrschvogelsaal (1534),
Nuremberg
Juan de Herrera
(ea, 1530-97)
Royal Church (1580),
El Escorial, near Madrid
luciano laurana (ea. 1420-79)
Oucal Palace (1468-79),
Urbino
Pierre leseot (ea. 1500-1578)
Hótel Carnavalet (1550), Paris
Pirro ligorio (ea. 1510-83)
Casino 01 Pius IV (1562),
Gardens, Vatican City
Pedro Machuca (d. 1550)
Royal Palace (1539-68),
Granada
THEORISTS PUBLlC lEAOERS ARTISTS
Michelangelo Buonarroti Robert Smythson leon Battista Alberti Alfonso 11,Naples (1448-95) Donatello (ea. 1386-1466)
(1475-1564) (ea. 1536-1614) (1404-72) Poggioreale (1489), Naples David (ea. 1446-60);
New SI. Peter's (1546-64), Wollaton Hall (1588), Ten Books of Architecture Gallame/ata (1453)
Vatican City Nottinghamshire (1452, pub. 1485) Charles V, Holy Roman Empire
(1500-1558) Albrecht Oürer (1471-1528)
Michelozzo Michelolzi Juan Bautista de Toledo 8envenuto Cellini (1500-1571) Royal Palace (1539-68), Four Apost/es (1504)
(1396-1472) (d,1567) Autobiography (1562) Granada
Mediei Palace (1446-59), Royal Palace (1563-82), lorenzo Ghiberli (1378-1455)
Florence El Escorial, near Madrid Philibert de l'Orme Federico 11da Montefeltro, St. John the Baptist (1405-17);
(ea. 1515-70) Ouke of Urbino (1422-82) Cetes 01 Peredise (1425-52),
Baldassare Peruzzi First Book of Architedure (1568) Oucal Palace (1468-79), Urbino Baptistery, Florence
MILlTARY ARCHITECTS
(1481-1536)
Villa Farnesina (1509-21), Jacques Androuet du Cerceau Francis 1, Franee (1494-1547) leonardo da Vinci
Rome Bernardo Buontalenti (ea, 1520-ca. 1585) Fontainebleau additions (1452-1519)
(ea. 1536-1608) The Most Excelfent Buildmgs (1528-40,) Lsst Supper (ea. 1498);
Giaeomo della Porta Belvedere Fort (1595), 01 France (1576, 1579) Mona Lisa (1503)
(ea. 1537-1602) Florence Henry 11,Franee (1519-59)
11Gesú lacade (1571-84), Antonio Filarete Louvre Palaee, Square Court Masaccio (1401-ca. 1428)
Rome Domenieo Fontana (ea. 1400-1469) (1551), Paris Trinity (ea. 1426)
(1543-1607) Ms. Treatise on Architecture
Raphael (1483-1520) Obeli,k (1585), Vatican City (1460-64) Henry VIII, England Miehelangelo Buonarroti
Villa Madama (1527), Rome (1491-1547) (1475-1564)
leonardo da Vinci Franeeseo di Giorgio Martini Hampton Court additions PietA (1500);
Giulio Romano (1452-1519) (1439-ca.1501) (1532-37), london Sistine Ceiling (1512)
(ea. 1492 -1546) Plan 01 Imola (1502) Ms. Treatise en Architecture
Palazzo del Té (1534), Mantua (1456) Cosimo ("the Elder") de' Raphael (1483-1520)
Antonio da Sangallo Medici, Florence (1389-1464) Galatea (1513); Stanze (1514)
Biagio Rossetti the Younger (1485-1546) Fra Gioeondo (ea. 1433-1515) San Lorenzo (Old Saeristry,
(ea. 1447-1516) Rocca (1542), Castro First iIIustrated Vitruvius, Ten 1428), Florence: Titian (ea. 1489-1576)
Ereolean addition (1490s), Boeks ot Architecture (1511) Medici Palace (1446-59), Assumption of the Virgin (1518)
Ferrara Miehele Sanmieheli Florence
(ea, 1484-1559) Andrea Palladio (1508-80)
WRITERS
Antonio da Sangallo the Elder Sant'Andrea a lido (1535-49), The Four Books of Architecture Philip 11,Spain (1527 -98)
(1455-1534) Veniee (1570) El Escorial (1563-82), near
Madonna di San Biagio (1526), Madrid Baldassare Castiglione
Montepulciano Sebastiano Serlio (1475-1554) (1478-1529)
FOUNTAIN OESIGNERS General Rules of Architecture Pope Julius 11(1443-1513) The Courtier (1528)
Giuliano da Sangallo (in seven books, 1537-75) New SI. Peter's (1506-1614),
(1445-1516) Gianbologna (1529-1608) Vatican City Miguel de Cervantes
Santa Maria delle Carceri Neptune Fountain (1563), I1 John Shute (d. 1563) (1547-1616)
(1492). Prato Bologna The First and Chief Groundes Pope leo X (1475-1521) Ga/atea (1585)
01 Architecture (1563) Medid Chapel and library
Jaeopo Sansovino Giovanni Montorsoli (1519-34), Florence Miehel de Montaigne
(1486-1570) (ea, 1507 -63) Giorgio Vasari (1511-74) (1533-92)
Proto 01 SI. Mark', (1529), Neptune Fountain (1551), Lives of the Artists Pope Paullll (1468-1549) Essay, (1580)
Venice Messina (1550, rev. ed. 1568) Farnese Palace (1517 -64),
Rome William Shakespeare
Vincenzo Scamozzi Jaeopo della Quercia Giaeomo da Vignola (1564-1616)
(1552-1616) (ea. 1380-1438) (1507-73) Pope Stxtus V (1525-90) Two Gentlemen of Verona
Racea Pisana (ea. 1576), Lonigo Fonte Gaia (1419), Siena Rule, lor the ñve Orders (1562) Via Sistina (1590), Rome (1594)
 EARLY RENAISSANCE
Raking cornice
Plans and massing:
Typical Mediterranean
Voussoirs
arrangement of
horizontal block with
Colonette -----t=ct=-il1lin-cij[. central courtyard.
Ground floor (piano
terreno), often arcaded.
Ashlar masonry
used for shops, with
benches for seating.
The floor above ground
Stemma (coat-of-arms) ---
level (piano nobi!e),
the primary living area,
sometimes duplicated
Bifora window by another floor
above. Attic story
housed servants.
Courtyards: Arcaded
Bugnato (heavy rustication) portico (/oggia) forming
interior courtyard.
Columns carried on
semicircular arches:
Loggia -- corners terminating in a
single column. Staircases
Hitching rings moving from their typical
place outdoors in the
Benches medieval era to within
the arcade shelter.
32 RENAISSANCE S T Y L E RENAISSANCE
Roofs: Flat tile, capped
by a large cornice, a
classical molding whose
proportions varied, tied
either to the top story or
to the whole building.
Materials and colors:
Rusticated surface in
rough stone (bugnato)
at ground level re-
taining elements of
medieval fortified family
towers; upper levels
of more refined drafted
stone or plaster, with
increasinglyelegant
handling. Colors dis-
tinctive to locale: in
Florence a gray-brown
limestone (pietra forte)
used for exteriors, a
blue-gray stone (pietra
serena) used for con-
trast in white stucco
interiors. Use of colored
marbles for decoratíve
insets less common.
S T
FEATURES
Doors and windows:
Doors placed centrally
or symmetrically.
Double-light (bifora)
windows in transition
from a medieval type
to semicircular profiles
divided by a slender
colonette, surrounded
by voussoirs.
Ornamento Classical
elements in stringcourses
between stories and
cornice molding, exterior
colonettes, interior
colonnade with Compos-
ite capitals. Friezes with
classical motifs in glazed
terra-cotta medallions.
The Medid Palace
(1446-59, Michelozzo
Michelozzi), Florence,
set the standard for the
successful merchant's
residence and Florentine
domestic architecture.
Y L E 33
 HIGH RENAISSANCE FEATURES
Round-headed Alternating Piano

Plans and massing: Roofs: Flat; masked Ornament: Paired windows with triangular and secondo

Horizontal block with by heightened cornice orders; aedicules; string- (rowning triangular String- segmental Doric (second

symmetry along a central in proportion to courses; balconies; clas- cornice pediments course pediments columns Ouorns

axis. Often reads as two classical order. sical rnotifs; statuary.

stories plus a base;

disguises intermediate Materials and colors:

levels such as mezzanine Travertine, a limestone,

and attic. Piano terreno typical of Roman

in rusticated stone with building; its pale gold

voussoirs, openings for hues sometimes covered

shops from the tradition with stucco for contrast-

of the Roman apartrnent ing texture and color;

building (insula). Piano could be carved for

nobile dignified by ornament. Stuccoed

use of orders or taber- brick, less expensive

nacle windows. and lighter, sometimes

substituted.

Courtyards: Vitruvian

sequence of atrium, Doors and windows:

vestibule, and peristyle Central portal promi-

courtyard now the nent. Tabernacle-framed

model. Classical prin- windows standard,

cipies reflected in super- sometimes with a

imposed arcades of straight lintel, a tri-

engaged columns or angular pediment, or The Farnese Palace \

pilasters carried on semicircular (segmental) (1517-64), Rome, Balcony Androne Rusticated Piano terreno Piano nobile Rectangular

piers and reinforced pediment; symmetry combined a Florentine with (entrance central (ground (main story) windows with

at corners. and repetition. plan with Roman scale. balustrade vestibule) portal story) straight lintels

36 RENAISSANCE S T Y L E RENAISSANCE S T Y L E 37