WEEK 4: RENAISSANCE (PART 1)

ARCHT’L FEATURES
 GEOGRAPHICAL
- This includes Italy, France, Germany, Holland, Spain, and England.
- The reintroduction of Classic Architecture all over Europe in the 15th and 16th
century.
 DEVELOPMENT OF RENAISSANCE
- Proto-Baroque
= Evident in the works of Michelangelo & Bernini as not fully developed Baroque.
Churches are with wide naves, & low ceilings crowned by high cupolas [domes].
- Palladian
= Popularized by Andrea Palladio, marked with round arch flanked by 2 small
square-headed openings.
- Baroque
= Is opulent and dramatic with irregular shapes and extravagant ornamentation.
- Rococo
= Late Baroque where it is increasingly ornate, florid, and playful.

ARCHT’L CHARACTER
 PLANS

- Towers are sparingly used while the dome is the predominant feature.
- Symmetrical in plan
 WALLS
- Ashlar masonry laid in horizontal courses and materials were in large blocks and
rusticated to give an impression of dignity.
- Rusticated wall angles called quoins to give an appearance of strength.

- Pediments are low-pitched or semi-circular.

 OPENING
- Arcades, doors, and windows are spanned by semi-circular arches.
 ROOFS
- Vaulting is developed by means of semi-circular vaults.
- Timber roofs are no longer left open.

 COLUMNS
- Classic orders were used & their proportions standardized.

 MOULDINGS
- Projecting horizontal cornices cast deep shadows.
  ORNAMENTS

- Motifs:
= Classical mythology
= Pagan subjects
= Fresco Painting
- Characteristics
= Carefully executed
= Fine craftmanship

RENAISSANCE IN ITALY
  ITALIAN RENAISSANCE
- Geographically considered the best in renaissance architecture under the three
distinctive cities of Florence, Rome, and Venice.
- Characteristics of Italian Renaissance:
= Stateliness
= Classical horizontality
 ITALIAN FEATURES
- Symmetrical plan that is also compact, rectilinear, formal, and grand.
- Severe and rusticated walls.
- Arcades have arches supported on piers faced with columns.
- Astylar façade [wall treatment without columns]
- Low-pitched roofs hidden by balustrades
- Pilaster strips are also used and marble often appear as points of special interest.
- Orders are superimposed in tiers.
- Doric, Ionic, Corinthian, Tuscan, and Composite column orders.
- Domes are crowned with lanterns.
- Coffered ceilings

FLORENCE, ITALY EARLY RENAISSANCE

 DOME OF FLORENCE CATHEDRAL [1296-1462]
- Designed by Filippo Brunelleschi [a famous Florence architect]; the lantern by
Guilano de Majano.
- Because of how many reconstructions there was, it is now a blending of a
Renaissance dome and a Gothic building [Arnolfo di Cambio].
 PALAZZO PITTI

- In English sometimes called the Pitti Palace, is a vast, mainly Renaissance, palace in
Florence, Italy.
- Designed by Filippo Brunelleschi for Luca Pitti.
- It is astylar and the largest place in Italy except the Vatican.
- The palace was bought by the Medici family in 1549 and became the chief residence
of the ruling families of the Grand Duchy of Tuscany.
 PALAZZO RICCARDI

- Also called the Palazzo Medici Riccardi after the later family that acquired and
expanded it, is a Renaissance palace located in Florence, Italy. It is the seat of the
Metropolitan City of Florence and a museum.
- Designed by Michelozzo Michellozzi in astylar design.
 S. ANDREA
 - Is a Roman Catholic co- cathedral and minor basilica in Mantua, Lombardy (Italy).
- Its mantua was by Leon Battista Alberti.
- It has a façade that looks like a Roman triumphal arch, Arch of Trajan at Ancona.
- One of the major works of 15th-century Renaissance architecture in Northern Italy.
FLORENCE, ITALY HIGH RENAISSANCE
 PALAZZO MARINO

- Built in 1558 and Milan’s City Hall since 1861, on 2 June, to mark Italian Republic
Day.
- By Galeazzo Alessi.
- Has lavish enrichments and graceful arcades.
 PALAZZO GENOA
 - Once the home of the Doges of Genoa, it is now a museum and a centre for cultural
events and arts exhibitions.
- By Rocco Lurago
- It is situated in the heart of the city, with two different entrances and façades, the
main one on Piazza Matteotti, and the second one on Piazza De Ferrari.
 S. MARIA ASSUNTA

- Renaissance church in Genoa, Italy. It is located in a residential sector called

Carignano located on the hills just above the city center, thus the church is also
known as Santa Maria Assunta di Carignano.
- By Galeazzo Alessi

ROME EARLY RENAISSANCE

 PALAZZO DI VENEZIA

- Façade is embellished by a fine renaissance winged lion.

- The original structure of this great architectural complex consisted of a modest
medieval house intended as the residence of the cardinals appointed to the church
of San Marco.
ROME, ITALY HIGH RENAISSANCE
 S. MARIA DELLA PAZ

- A main feature of the church and monastery complex is the 2-storey arcaded cloister
by Donato Bramante
- Carlo Maderno designed the high altar (1614) to enframe the venerable icon of the
Madonna and Child.
 TEMPIETTO IN S. PIETRO

- Marks the spot where St. Peter was martyred.

- Is a church in Rome, Italy, which includes in its courtyard the Tempietto, a small
commemorative martyrium (tomb) built by Donato Bramante.
 VILLA FARNESINA
- The villa was built for Agostino Chigi, a rich Sienese banker and the treasurer of
Pope Julius II.
- By Baldassare Peruzzi
- Renaissance palaces typically faced onto a street and were decorated versions of
defensive castles: rectangular blocks with rusticated ground floors and enclosing a
courtyard. This villa, intended to be an airy summer pavilion, presented a side
towards the street and was given a U- shaped plan with a five bay loggia between
the arms.
 S. MARIA DELLA CONSOLAZIONE

- By Cola da Caprarola & Baldassare Peruzzi in Greek cross plan.

- Is a Renaissance-style pilgrimage church in Todi, Italy. The centralized, symmetric
plan, surmounted by a tall dome, distinguishes this Renaissance church, from the
more common elongated basilica or Latin- cross designs.
 ST. PETER’S BASILICA
- The central church of Roman Catholicism, stands on the site where St. Peter is
believed to have been buried.
- It was an outcome of many architects under the direction of many popes during a
period of 120 years.
- Largest house of worship with space that could accommodate 50,000 people.
- ARCHITECTS OF ST. PETER’S BASILICA
= It was once a competition which resulted to a number of designs.
1. In 1506, Donato Bramante’s design was chosen. It has Greek cross plan.
2. When Pope Julius II’s death, Bramante was suspended by Giuliano da Sangallo
the Older, Fra Giacondo de Verona, and Raphael Santi. The former two died in
1575 and Santi proposed a plan in Latin cross. He died in 1520.
3. Baldassare Perruzzi succeeded and reverted to the Greek cross plan.
4. On the death of Perruzzi, Antonio Da Sangallo the Younger, altered the plan with
an extended vestibule, lofty campanile, and an elaborate central
5. On his death, ten years later, Michelangelo Buonarotti succeeded him at 72. the
present building owes most of its outstanding features to his genius.
6. Giacomo Della Porta and Domenico Fontana completed the dome from the
model left by Michelangelo.
7. Giacomo Da Vignola added the side cupolas.
8. Carlo Maderna lengthened the nave to form a Latin cross plan and added the
gigantic façade.
9. Gian Lorenzo Bernini finally erected the piazza, 650 ft wide surrounded by 284
columns.
- MICHELANGELO’S CONTRIBUTION
a. Greek cross plan
b. Strengthened the piers of the dome
c. Redesigned the surrounding chapels and apses.
d. Commenced the construction of the great dome
e. The drum was completed before his death.
= As a renaissance master, he devised an elaborate scheme in decorating the ceiling
of Sistine chapel, which he painted between 1508-1512 when he was 33. It features
the nine Biblical Books of Genesis, including the creation of Adam and Eve, the
Temptation and Fall of Adam and Eve, and the Flood.
= Michelangelo’s “Last Judgment”, the large fresco on the altar wall of the Sistine
Chapel, dates from 1536-1541, about 20 years after the famous fresco painting on
the ceiling.
= THE CREATION OF ADAM
- His artworks were realistic and are often imbued with a dramatic and emotional
intensity.
- He is skillful in the rendering of the facial features and the handling of light and
shadow.

= PIETA
- Created from marble with the effect of dynamic, flowing lines and was made when
he was 23 years old.
- The highly realistic depiction of the limbs, the musculature evokes in a viewer a
deeply emotional response.
 DAVID

- Renaissance interpretation of common ancient Greek theme of the standing heroic

male nude in a contrapposto pose.
- It symbolizes both of strength and youthful human beauty.
- Its focus is more on his strong eyes because the artist wants it to be interpreted that
David uses his head in making decisions and not pleasure in mind.

VENICE EARLY RENAISSANCE

 PALAZZO VENDRAMIN
 - Is a palace on the Grand Canal in the sestiere (quarter) of Cannaregio in Venice,
northern Italy.
- By Pietro Lombardo and has the medieval note still typical of early renaissance in
Venice.
- he spacious Renaissance- style palace stands three stories high with direct access to
the Grand Canal available by gondolas.
 STA. MARIA DEI MIRACOLI

- Also known as the ‘marble church’ within and its exterior.

- It is popular Venetian wedding venue.
- Also known as the "marble church", it is one of the best examples of the early
Venetian Renaissance including colored marble, a false colonnade on the exterior
walls (pilasters), and a semicircular pediment.

VENICE HIGH RENAISSANCE

 PALAZZO BEVILACQUA

- By Michel Sanmichel
- It is certainly one of the most refined and detailed buildings in the city, with a façade
built in two orders, the lower one more massive, and the upper one more slender
and elegant
 LIBRARY OF ST. MARK

- Most outstanding buildings of Jacopo Sansovino.

- Constructed between 1537 and 1588, it is considered the masterpiece of the
architect Jacopo Sansovino and a key work in Venetian Renaissance architecture.
 BASILICA, VICENZA
- Famous for its Renaissance arcades by Andrea Palladio.
- This grouping of arches and smaller free-standing twin columns with square head
openings is termed the “Palladian Motif”.
- Is a Renaissance building in the central Piazza dei Signori in Vicenza, north- eastern
Italy.
 VILLA CAPRA, VICENZA

- Known as the Rotunda.

- It is a square building with a central circular hall.
- It is a work of Antonio Palladio.
- This house, later known as 'La Rotonda', was to be one of Palladio's best-known
legacies to the architectural world. Villa Capra may have inspired a thousand
subsequent buildings, but the villa was itself inspired by the Pantheon in Rome.
 SAN GIORGIO MAGGIORE
 - It is a work of Andrea Palladio.
- Its façade was completed by Scamozzi.
- The church is a basilica in the classical Renaissance style and its brilliant white
marble gleams above the blue water of the lagoon opposite the Piazzetta di San
Marco and forms the focal point of the view from every part of the Riva degli
Schiavoni.

RENAISSANCE IN FRANCE
ARCHIT’L CHARACTER
 1. Picturesque
2. Gothic versatility
3. Civic Design
4. Garden planning
5. Dormer window
6. Mansard Roof
SECULAR BUILDINGS
 CHATEAU DE BLOIS
- Was the residence of several French kings.
- During the Renaissance, 7 kings and 10 queens sojourned in the châ teau.
- From right to left: the Louis XII Gothic flamboyant wing, the medieval Gothic castle,
the Francois I Renaissance wing, and the Gaston d’Orleans classic wing.
 CHATEAU DE CHAMBORD

- The Châ teau de Chambord (French pronunciation: in Chambord, Centre Region,

France, is one of the most recognisable châ teaux in the world because of its very
distinctive French Renaissance architecture which blends traditional French
medieval forms with classical Renaissance structures. The building, which was
never completed, was constructed by Francis I.
 CHATEAU DE CHENONCEAUX
- Was designed by Philibert de L’Orme
- An architectural mixture of late Gothic and early Renaissance, Châ teau de
Chenonceau and its gardens are open to the public. Other than the Royal Palace of
Versailles, it is the most visited châ teau in France.
 CHATEAU D’AZAY-LE RIDEAU

- Was built on an island with same characteristics as that of Chenonceaux

- Built between 1518 and 1527, this châ teau is considered one of the foremost
examples of early French renaissance architecture. Set on an island in the middle of
the Indre river, this picturesque châ teau has become one of the most popular of the
châ teaux of the Loire valley.
 ANCY LE-FRANC
- is a Renaissance-style châ teau of the 16th century located in the town of Ancy- le-
Franc in the department of Yonne, in France.
- At Burgundy and was designed by Sebastiano Serlio
- The architecture of the châ teau is the result of a mixture of French and Italian styles,
a consequence of compromise between the French owner and Italian architect.
 PALAIS DE FONTAINEBLEAU

- By Gilles Le Breton depends for its attraction on the courts, formal gardens, terraces,
lakes, and radiating vistas.
- Is one of the largest French royal chateau.
- Francis I and Napoleon were the monarchs who had the most influence on the
Palace as it stands today.
- The Gallery of Francis I, connecting the King's apartments with the chapel,
decorated between 1533 and 1539. It introduced the Italian Renaissance style to
France.
 PALAIS DU LOUVRE
- One of the most imposing palaces in Europe.
- In 1546 Francis I commissioned the architect Pierre Lescot and sculptor Jean Goujon
to modernize the Louvre into a Renaissance style palace.
- Occupies 45-acre property.
- Many of the world’s greatest work of art are housed in its gallery like Leonardo da
Vinci’s Mona Lisa.
 PALAIS DES TUILERIES

- Part of the Louvre built during the Napoleonic period.

- Designed by Solomon de Brosse, it anticipates the formalized, Baroque design that
typified later 17th-century French Renaissance architecture.
- Has 25-hectare green parterre gravel & lawn with statues & basins of water.
 HOTEL DE VILLE
- Beaugency is an early renaissance municipal architecture.
- The House of Pillars was torn down and Boccador, steeped in the spirit of the
Renaissance, drew up the plans of a building which was at the same time tall,
spacious, full of light and refined. Building work was not finished until 1628 during
the reign of Louis XIII.
 MAISON MILSAND

- By Higuen Sambin is abundant in renaissance details.

- In 1561 this mansion was built at 38 rue des Forges in Dijon for Jean Maillard
( mayor of Dijon from 1560 to 1561 ) with a remarkable richly sculpted facade . The
upper level of the facade and the facade of the rear courtyard are attributed to the
cabinetmaker and architect Comtois Hugues Sambin ( 1520 - 1601 ).
 HOTEL D’ ASSEZAT

- By Nicolas Bachelier of tiered paired columns with shallow windowed arcades.

- The Hô tel d'Assézat differs from the other Renaissance townhouses in Toulouse not
only in size and its exceptional ornamentation, but also in its pristine condition, a
fact which earns it a mention in every overview of French Renaissance.
 - It is one of the first manifestations of French classicism.
ECCLESIASTICAL BUILDINGS ST. GERVAIS
 ST. GERVAIS

- Has the earliest wholly classical façade by Salomon de Brosse with 3 tiers of coupled
columns of doric, ionic, and Corinthian
- While the lower level of the nave is late gothic, the upper level of the nave shows the
influence of the Renaissance, with large semi-circular arches containing a series of
large stained glass windows, filling the church with light.

WEEK 5: RENAISSANCE (PART 2)

RENAISSANCE IN GERMANY
ARCHT’L CHARACTER
 Early Renaissance [1550-1600]
- Introduction of renaissance elements into Gothic buildings
 Proto-Baroque[1600-1660]
- Italian architects carried the Renaissance from N. Italy to Switzerland, Austria and
Germany while native architects emulated them & produced national versions of the
style.
 Baroque [1660-1710]
- Architects of native origin and trained in Italy brought architecture to a splendid
culmination.
 Rococo [1710 – 1760]
- Extension of the Baroque period wherein architecture and decoration show great
refinement and mastery.
 Antiquarian [1760-1830]
- Return of ancient classical models like Greek revival.
  HELM ROOF

- Bulbous fermination of a tower.

 SCROLL BUTTRESS [Baroque]
 STRAPWORK
EXAMPLES
 WAWEL CASTLE CATHEDRAL

- Is Poland’s national sanctuary.

- Has a 1000-year history and was the traditional coronation site of Polish moanrchs.
- It is brick architecture with strap work ornamentation.
 ESZTERGOM BASILICA
 - Largest church in Hungary and the 3rd largest in Europe.
- Is 1st of the large series of domed cubical chapels based on Italian models.
SECULAR ARCHT.
 POZNAN TOWN HALL

 Has a 3-storey arcaded loggia, and is topped with a three- tower attic.
 It now houses the Museum of history of Poznan.
 Following major damage in the Battle of Poznań (1945), the Town Hall was again
rebuilt in 1945–1954, when the Renaissance character of the elevations was
restored (and extracts from the constitution of the Polish People's Republic were
added to the text displayed on the attic wall).
 STADTRESIDENZ
 By Augsburger Berhard Zwitzel .
 It was inspired by Italian renaissance design.
 It is also called as the Landshut Residence.
 RESIDENZ

 Is a former royal palace of the Bavarian monarchs and is the largest downtown
palace in Germany.
 Behind the German building, close to the river Isar, the so- called "Italian building"
(in German: Italienischer Bau) was constructed from 1537 to 1543 in Italian
Renaissance style with a spacious courtyard and the palace chapel.
 ANTIQUARIUM
  Was built in 1568-1571 for the antique collection of Albert V.
 Largest Renaissance hall north of Alps.
 HEIDELBERG CASTLE

 Mix of Gothic and Renaissance styles.

 Erected the first representative building in the inner courtyard as a regal residence
 In the 16th and 17th century the Prince Electors added two representative palace
buildings and turned the fortress into a castle.

RENAISSANCE IN SPAIN AND PORTUGAL

ARCHT’L CHARACTER
 Renaissance in Spain was heir to two civilizations; Moslem and Christian.
A. SPAIN
 Development of Spanish Renaissance
 1. Early Period – influenced by the exuberant fancy of the Moorish art. The
“PLATERSQUE STYLE” [plateria = silverwork] was characterized by minuteness of
detail and its similiarity to silversmith’s work. The style is extremely forid and
decorative.

2. Classical period = Close adherence to the Italian Renaissance.

B. PORTUGAL
1. Manueline Style
- A peculiarly Portuguese phenomenon was taken from the name of King Manuel I.
It is decorative rather than structural in character. Patterns used are;
= Armilary Spheres
= Ropes
= Corals
= Cross of the Order of Christ
= Manueline Style
EXAMPLES IN SPAIN
 THE ROYAL HOSPITAL

 By Enrique Egas
 Was commissioned in 1942 for the worn out pilgrims arriving in Santiago.
 It is widely considered the oldest continuously operating hotel in the world, and has
also been called the "most beautiful hotel in Europe".
 UNIVERSITY OF SALAMANCA
 Is a masterpiece of Plateresque style.
 Is a wealth of surface ornament of Moorish inspiration.
 It is the world's third oldest university still in operation and the oldest university in
the Hispanic world. The formal title of "University" was granted by King Alfonso X in
1254 and recognized by Pope Alexander IV in 1255.
 UNIVERSITY FAÇADE, ALCALA DE HENARES

 By Narciso Tome has an articulated façade of giant orders filled with sculptural
details of the Plateresque style.
 CASA DE AYUNTAMIENTO
 By Diego de Riañ o
 Has attached columns treated as candelabras.
 The building has a large façade divided into five modules, decorated by Plateresque
reliefs; these include grotesque motifs inspired by Italian Florentine architecture,
heraldry symbols, allegories of Justice and Good Government and depictions of
mythological or historical characters such as Hercules, Julius Caesar and Charles V.
 PALACE OF CHARLES V. GRANADA

 By Pedro Machucha
 Has rusticated Doricpilasters and paired fluted hall columns.
 he exterior of the building uses a typically Renaissance combination of rustication
on the lower level and ashlar on the upper.
 ESCORIAL
  Begun by Juan Bautista de Toledo and completed by Juan de Herrera
 is a historical residence of the King of Spain, in the town of San Lorenzo de El
Escorial, about 45 kilometres (28 miles) northwest of the Spanish capital, Madrid.
 CASA LONJA

 Located in Seville and houses the General Archive of the Indies, a superb collection
of books, plans, manuscripts, & several million documents bearing in the history and
administration of Spain’s empire in the America and the Philippines.
EXAMPLES IN PORTUGAL
 PALACIO DE MATEUS
  By Nikolau Nasoni was patterned from Italian villas designed on several terraces.
 Is a palace located in the civil parish of Mateus, municipality of Vila Real, Portugal.
The three primary buildings are the manor, the winery and the chapel.

RENAISSANCE IN ENGLAND
ARCHT’L CHARACTER
 Early Renaissance
A. Elizabethan
- Reign of Queen Elizabeth
- Stately Elizabethan mansions
- Oriel and bay window
B. Jacobean
- Reign of James I
- More sober in character
- Oriel Window = Window corbelled out from a wall.

- Bay Window = Is a window of a protruded bay.

  Late Renaissance
A. Stuart
- Inigo Jones = A man with dominating personality and brilliance.
- Sir Christopher Wren = Supreme figure of the 2nd phase of the Stuart period; a
scholar mathematician, and astronomer.
B. Georgian = Reigns of Anne, George I,II,III, and IV.
PARTS OF ELIZABETHAN MANSION
 GREAT HALL = Centrally positioned connecting the various parts of the mansion.

 GRAND STAIRCASE
 LONG GALLERY = Is designed as a connecting corridor, a covered promenade or a
picture gallery.

 WTIHDRAWING ROOM = Is a room for receiving and entertaining visitors and

usually led to a formal or ‘state’ bedroom.
EXAMPLES OF ELIZABETHAN HOUSES
 LONGLEAT HOUSE

- By Robert Symthson
- Is widely regarded as the best example of High Elizabethan architecture in Britain.
- John Thynne, 4th Marquess of Bath (1831–1896) collected Italian fine arts. He
employed John Crace, whose prior work included Brighton Pavilion, Woburn Abbey,
Chatsworth House and the Palace of Westminster, to add Italian renaissance style
interiors.
 KIRBY HALL
- Located in Northamptonshire by Thomas Thorpe
- Is one of England’s greatest Elizabethan mansions.
- Kirby was owned by Sir Christopher Hatton, Lord Chancellor to Queen Elizabeth I.
- It is a leading and early example of the Elizabethan prodigy house.
 BURGHLEY HOUSE

- By Sir William Cecil.

- The grandest mansion of the first Elizabethan age.
- It is a leading example of the Elizabethan prodigy house, built and still lived in by the
Cecil family. The exterior largely retains its Elizabethan appearance, but most of the
interiors date from remodellings before 1800.
 MONTACUTE HOUSE
- It is a late Elizabethan country house planned in H-shape.
- An example of English architecture during a period that was moving from the
medieval Gothic to the Renaissance Classical, and one of few prodigy houses to
survive almost unchanged from the Elizabethan era
 WOLLATON HOUSE

- Spectacular country house and is now a national history museum.

- Wollaton is a classic prodigy house, "the architectural sensation of its age", though
its builder was not a leading courtier and its construction stretched the resources he
mainly obtained from coalmining; the original family home was at the bottom of the
hill.
 HARDWICK HOUSE
 - By Robert Smythson
- Has an exterior famous for its mullioned and transomed windows giving it a name
as “Hardwick Hall, more glass than wall”.
- Is an architecturally significant Elizabethan country house in England, a leading
example of the Elizabethan prodigy house.

EXAMPLES OF ELIZABETHAN COLLEGE

 EMMANUEL COLLEGE, CAMBRIDGE

- Is a constituent college of the University of Cambridge. The college was founded in

1584 by Sir Walter Mildmay, Chancellor of the Exchequer to Elizabeth I.
 TRINITY COLLEGE NEVIL’S COURT
 - Created by a bequest by the college's master, Thomas Nevile.

EXAMPLES OF JACOBEAN MANSION

 HATFIELD HOUSE

- By Robert Cecil built between 1607-1611.

- It is in Jacobean in style and surrounded by beautiful gardens.
- It is a prime example of Jacobean architecture. The estate includes extensive
grounds and surviving parts of an earlier palace.
 BLICKLING HALL
 - is a stately home which is part of the Blickling estate.
- It is located in the village of Blickling north of Aylsham in Norfolk, England and has
been in the care of the National Trust since 1940.
 KNOLE HOUSE

- is a country house and former archbishop's palace situated within Knole Park.
- The house apparently ranks in the top five of England's largest houses, under any
measure used, occupying a total of four acres

EXAMPLES OF JACOBEAN COLLEGES

 WADHAM COLLEGE
 - By Thomas Holt
- One of the colleges of the University of Oxford in the United Kingdom .
- It was founded in 1610 by Dorothy Wadham (née Petre ) in memory of her husband
Nicholas Wadham.
 CLARE COLLEGE

- Located in Cambridge
- The college was founded in 1326 as University Hall, making it the second- oldest
surviving college of the University after Peterhouse.
- The college was founded in 1326 by the university's Chancellor, Richard Badew, and
was originally named University Hall.

STUART ARCHITECTURES
 BANQUETING HALL
- The Banqueting House, Whitehall, is the grandest and best known survivor of the
architectural genre of banqueting house, which were constructed for elaborate
entertaining.
- By Iñ igo Jones, and was designed in a style influenced by y Palladio.
- It is the grandest of the banqueting house and the first building to be completed in
the neo-classic style.
 QUEEN’S HOUSE

- Queen's House is a former royal residence built between 1616 and 1635 in
Greenwich, a few miles down-river from the then City of London and now a London
Borough.
- By Iñ igo Jones, and has an influence of the Palladian style.
- It was a crucial early commission, for Anne of Denmark, the queen of King James I.
 YORKWATER GATE
- By Balthazar Gerbier executed by Nicholas Stone is a charming piece with rusticated
masonry and Tuscan order surmounted by pediment.
- York House (formerly Norwich Place or Norwich Palace) was one of a string of
mansion houses which formerly stood on the Strand, the principal route from the
City of London to the Palace of Westminster.
 S. PAUL COVENT GARDEN

- Is a church as simple as a barn.

- According to an often repeated story, recorded by Horace Walpole, Lord Bedford
asked Jones to design a simple church "not much better than a barn", to which the
architect replied "Then you shall have the handsomest barn in England".
- Iñ igo Jones showed wide- spreading eaves and simple pediment producing dignity
by simple means.

RENAISSANCE HUMANISM (PART 3)

  Was a movement in thought, literature, and art, typified by a revival in interest in
the classical world and studies which focused not on religion but on what it is to be
human.
 Humanists believed in the importance of an education in classical literature and the
promotion of civic virtue, that is, realising a person's full potential both for their
own good and for the good of the society in which they live.
 The difficulty in defining humanism and its ever-evolving character have not
prevented it being widely regarded as the defining feature of 1400 to 1600 CE
Europe and the very reason why that period can be identified as a Renaissance or
'rebirth' of ideas.
 Humanists sought to create a citizenry able to speak and write with eloquence and
clarity and thus capable of engaging in the civic life of their communities and
persuading others to virtuous and prudent actions.
 This was to be accomplished through the study of the studia humanitatis, today
known as the humanities: grammar, rhetoric, history, poetry, and moral philosophy.
WHAT IS HUMANISM?
 Humanism was a term invented in the 19th century CE to describe the Renaissance
idea that directly studying the works of antiquity was an important part of a
rounded education.
 From this position came the idea that the study of humanity should be a priority as
opposed to religious matters.
 Important classical ideals which interested humanists included the importance of
public and private virtue, Latin grammar, techniques of rhetoric, history,
conventions in literature and poetry, and moral philosophy.
 The main elements of Renaissance humanism include:
- an interest in studying literature and art from antiquity
- an interest in the eloquent use of Latin
- a belief in the importance and power of education to create useful citizens
- the promotion of private and civic virtue
- a rejection of scholasticism
- the encouragement of non-religious studies
- an emphasis on the individual and their moral autonomy
- a belief in the importance of observation, critical analysis, and creativity
- a belief that poets, writers, and artists can lead humanity to a better way of living
- an interest in the question 'what does it mean to be human'?
WHAT IS HUMANISM?
 Some of the first humanists were great collectors of antique manuscripts, including
Petrarch, Giovanni Boccaccio, Coluccio Salutati, and Poggio Bracciolini. Of the four,
Petrarch was dubbed the "Father of Humanism" because of his devotion or loyalty
to Greek and Roman scrolls.
  Leonardo da Vinci's Vitruvian Man (c. 1490) shows the correlations of ideal human
body proportions with geometry described by the ancient Roman architect
Vitruvius in his De Architectura. Vitruvius described the human figure as being like
the principal source of proportion among the Classical orders of architecture.

PRINTING PRESS
 German goldsmith Johannes Gutenberg is credited with inventing the printing press
around 1436, although he was far from the first to automate the book-printing
process.
 It was first used to printing bibles but considering that not many people were able
to read Latin, it was a dying business until the Renaissance period where it was
widely used when Italian city- states like Rome and Florence set out to revive the
 Ancient Roman educational system that had produced giants like Caesar, Cicero and
Seneca.
 “Suddenly, what had been a project to educate only the few wealthiest elite in this
society could now become a project to put a library in every medium-sized town,
and a library in the house of every reasonably wealthy merchant family,” says
Palmer.

PETRARCH

 has been called the Father of Italian Humanism, and while modern historiography
plays down the role of individuals, his contribution was large.
 He firmly believed that classical writings were not just relevant to his own age but
saw in them moral guidance that could reform humanity, a key principle of
Renaissance Humanism.
- Had Petrarch not lived, Humanism would have been seen as threatening
Christianity.