Powerpoint for History of Architecture finals. prepared by Arch. Alfonso

11. St. Peter's Basilica and the Sistine Chapel by Jerry Camarillo Dunn Jr. The front entrance to St. Peter's Basilica is an enormous piazza framed by two long, curving colonnades -- a design that symbolizes the arms of the Roman Catholic Church reaching out to embrace the faithful. The piazza can hold some 300,000 people with room to spare.

17. That is the Renaissance Architecture

18. Renaissance Architecture Compiled by Arch. Maria Mynn Porciuncula-Alfonso

19. No, it was not started by a magical fingers of Michalangelo

20. But , through the skillful hands of Brunelleshi In 1401, Brunelleschi entered a competition to design a new set of bronze doors for the baptistery in Florence. Along with another young goldsmith, Lorenzo Ghiberti , he produced a gilded bronze panel, depicting the Sacrifice of Isaac. His entry made reference to a classical statue, known as the 'thorn puller', whilst Ghiberti used a naked torso for his figure of Isaac. In 1403, Ghiberti was announced the victor, largely because of his superior technical skill: his panel showed a more sophisticated knowledge of bronze-casting; it was completed in one single piece. Brunelleschi's piece, by contrast, was comprised of numerous pieces bolted to the back plate. Ghiberti went on to complete a second set of bronze doors for the baptistery, whose beauty Michelangelo extolled a hundred years later, saying "surely these must be the " Gates of Paradise ."

21. Ghiberti first became famous when he won the 1401 competition for the first set of bronze doors for the Baptistery of the cathedral in Florence. Brunelleschi was the runner up. The original plan was for the doors to depict scenes from the Old Testament , and the trial piece was the sacrifice of Isaac . However, the plan was changed to depict scenes from the New Testament , instead.

24. Few men have left a legacy as monumental as Filippo Brunelleschi. He was the first modern engineer and a problem-solver with unorthodox methods. He solved one of the greatest architectural puzzles and invented his way to success. Only now is he receiving deserved recognition as the greatest architect and engineer of the Renaisssance.

25. Soon other commissions came, the most important of which were the designs for the dome of the Cathedral of Florence (1419-1436) and the Sagrestia Vecchia , or Old Sacristy of S. Lorenzo (1421-1440).

30. Dome Building Brunelleschi's design contained two shells for the dome , an inner shell made of a lightweight material, and an outer shell of heavier wind-resistant materials. By creating two domes, Brunelleschi solved the problem of weight during construction because workers could sit atop the inner shell to build the outer shell of the dome.

33. Foundling Hospital

38. Tempietto di San Pietro in Montorio, Rome, 1502, by Bramante. This small temple marks the place where St Peter was put to death. Temple of Vesta, Rome, 205 AD. As the most important temple of Ancient Rome, it became the model for Bramante's Tempietto.

43. Basilica of San Lorenzo.

46. The church of San Pietro in Montorio was built on the site of an earlier ninth-century church dedicated to St. Peter on Rome's Janiculum hill. Commissioned by Ferdinand and Isabella of Spain, it marks a traditional location of St. Peter's crucifixion. The church currently has no Cardinal-Protector since the death of its last Cardinal Priest , Aloísio Cardinal Lorscheider .

49. Donato Bramante ( 1444 – March 11 , 1514 ) was an Italian architect , who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome , where his most famous design was St. Peter's Basilica .

51. Piazza Navona is a square in Rome , Italy . The piazza follows the plan of an ancient Roman circus , the 1st century Stadium of Domitian , [1] where the Romans came to watch the agones ("games"): It was known as 'Circus Agonalis' (competition arena). It is believed that over time the name changed to 'in agone' to 'navone' and eventually to 'navona'.

54. Santa Maria delle Grazie, Milan.

56. Raphael Raphael , (1483–1520), Urbino , trained under Perugino in Perugia before moving to Florence, was for a time the chief architect for St. Peter’s , working in conjunction with Antonio Sangallo. He also designed a number of buildings, most of which were finished by others. His single most influential work is the Palazzo Pandolfini in Florence with its two stories of strongly articulated windows of a " tabernacle " type, each set around with ordered pilasters, cornice and alternate arched and triangular pediments. [13]

57. Mannerism Mannerism was marked by widely diverging tendencies in the work of Michelangelo , Giulio Romano , Peruzzi and Andrea Palladio , that led to the Baroque style in which the same architectural vocabulary was used for very different rhetoric.

60. Sant'Agostino, Rome, Giacomo di Pietrasanta, 1483

62. Classical Orders, engraving from the Encyclopédie vol. 18. 18th century.

63. The Basilica di Sant'Andrea is a Renaissance church in Mantua , Lombardy ( Italy ). Commissioned by Ludovico II Gonzaga , the church was begun in 1472 according to designs by Leon Battista Alberti on a site occupied by a Benedictine monastery, of which the bell tower (1414) remains. The building, however, was finished only 328 years later. Though later changes and expansions altered Alberti’s design, the church is still considered to be one of Alberti's most complete works.

66. The Dome of St Peter's Basilica, Rome. photo- Wolgang Stuck, 2004

67. Ceilings Roofs are fitted with flat or coffered ceilings. They are not left open as in Medieval architecture. They are frequently painted or decorated. Doors Door usually have square lintels. They may be set within an arch or surmounted by a triangular or segmental pediment. Openings that do not have doors are usually arched and frequently have a large or decorative keystone. Windows Windows may be paired and set within a semi-circular arch. They may have square lintels and triangular or segmental pediments, which are often used alternately. Emblematic in this respect is the Palazzo Farnese in Rome, begun in 1517.

68. Courtyard of Palazzo Strozzi, Florence In the Mannerist period the “Palladian” arch was employed, using a motif of a high semi-circular topped opening flanked with two lower square-topped openings. Windows are used to bring light into the building and in domestic architecture, to give views. Stained glass, although sometimes present, is not a feature.

76. Pope Sixtus IV, 1477, builder of the Sistine Chapel. Fresco by Melozzo da Forlì in the Vatican Palace .

78. Four Humanist philosophers under the patronage of the Medici: Marsilio Ficino , Cristoforo Landino , Angelo Poliziano and Demetrius Chalcondyles . Fresco by Domenico Ghirlandaio .

81. Architectural Theory During the Renaissance, architecture became not only a question of practice, but also a matter for theoretical discussion. Printing played a large role in the dissemination of ideas.

82. The first treatise on architecture was De re aedificatoria (English: On the Art of Building) by Leon Battista Alberti in 1450. It was to some degree dependent on Vitruvius ' De architectura , a manuscript of which was discovered in 1414 in a library in Switzerland. De re aedificatoria in 1485 became the first printed book on architecture.

84. Sebastiano Serlio (1475 – c. 1554) produced the next important text, the first volume of which appeared in Venice in 1537; it was entitled "Regole generali d'architettura” (or "General Rules of Architecture"). It is known as Serlio's "Fourth Book" since it was the fourth in Serlio's original plan of a treatise in seven books. In all, five books were published.

85. The first volume of his treatise appeared in Venice in 1537, titled "Regole generali d'architettura [...]" (or "General Rules of Architecture"). It is also known as Serlio's "Fourth Book" (albeit published first) because it was the fourth in Serlio's original plan of a treatise in seven books. Serlio never brought this plan to completion. Serlio' model of church façade was a regularized version , cleaned up and made more classical, of the innovative method of providing a facade to a church with a high vaulted nave flanked by low side aisles, a classical face to a Gothic form, first seen in Alberti 's Santa Maria Novella in Florence (c. 1458). The idea was in the air in the 1530s: several contemporary churches compete for primacy: but Serlio's woodcut put the concept in every architect's hands. Serlio's "Third Book", on the antiquities of Rome, followed in 1540, also in Venice. Serlio's publications, rather than any spectacular executed work, attracted the attention of Francois I. Serlio's career took off when he was invited to France by Francis I , to advise on the construction and decoration of the Château of Fontainebleau , where a team of Italian designers and craftsmen were assembled. Serlio took several private commissions, but the only one that has survived in any recognizable way is the Chateau of Ancy-le-Franc built about 1546 near Tonnerre in Burgundy.

87. He took great interest in studying the ruins of classical architecture in Rome and elsewhere. At Rome he was employed by Pope Nicholas V in the restoration of the papal palace and of the restoration of the Roman aqueduct of Acqua Vergine , which debouched into a simple basin designed by Alberti, which was swept away later by the Baroque Trevi Fountain . At Mantua he designed the church of Sant'Andrea , and at Rimini the church of San Francesco . On a commission from the Rucellai family he completed the principal facade of the church of Santa Maria Novella in Florence which had been begun in the previous century. He also built the facade for the family palace in the Via della Vigna Nuova, known as the Palazzo Rucellai , though it is not exactly clear what his role as designer was. facade of the church of Santa Maria Novella in Florence

88. Palladio

89. In 1570, Andrea Palladio (1508 –1580) published I Quattro Libri dell'Architettura (The Four Books of Architecture) in Venice . This book was widely printed and responsible to a great degree of spreading the ideas of the Renaissance through Europe. All these books were intended to be read and studied not only by architects, but also by patrons.

90. I Quattro Libri dell'Architettura ( The Four Books of Architecture ) was published in 1570 , in four volumes written by the architect Andrea Palladio ( 1508 - 1580 ), whose name is identified with an architectural movement named after him known as Palladian architecture .

91. True Palladianism" in Villa Godi by Palladio from the Quattro Libri dell'Architettura . The extending wings are agricultural buildings and are not part of the villa. In the 18th century they became an important part of Palladianism—

100. See CD about Paladio

101. Villa Capra "La Rotonda " in Vicenza is a Renaissance villa in Vicenza , northern Italy , designed by Andrea Palladio . The correct name is Villa Almerico-Capra. It is also known as La Rotonda, Villa Rotunda , Villa La Rotonda, and Villa Almerico. The name "Capra" derives from the Capra brothers, who completed the building after it was ceded to them in 1591. Like other work by Palladio in Vicenza , it is included in the UNESCO World Heritage Sites list.

112. Façade of Palazzo Massimo alle Colonne. The Palazzo Massimo alle Colonne is an architecturally influential urban Renaissance palace in Rome . The palace was designed by Baldassarre Peruzzi in 1532 - 1536 on a site of three contiguous palaces owned by the old Roman Massimo family; built after arson of an earlier structure during the Sack of Rome (1527) . In addition the curved façade was dictated by foundations built upon the stands for the stadium ( odeon ) of the emperor Domitian . It fronts the now busy, Corso Vittorio Emanuele, a few hundred yards from the front of the church of Sant'Andrea della Valle .

113. The Palazzo Massimo alle Colonne The entrance is characterized by a central portico with the six Doric columns. Inside there are two courtyards, of which the first one has a portico with Doric columns as a basement for a rich loggia, which is also made of Doric columns. The column decorations gave name to the palace (alle Colonne). The façade is renown as one of the most masterful of its time, combining both elegance with stern rustication. The reccessed entrance portico differs from typical Palazzo models such as exemplified by the Florentine Palazzo Medici . In addition, there is a variation of size of windows for different levels, and the decorative frames of the windows of the third floor. Unlike the Palazzo Medici, there is no academic adherence to orders, depending on the floor On the opposite side of this palace, opening on to the Piazzetta dei Massimo, the palace connects with a frescoed façade of Palazzetto Massimi (or Istoriato). For many centuries, this used to be the central post office, a Massimo family occupation. To the left of the palace is the Palazzo di Pirro, built by a pupil of Antonio da Sangallo . The interior ceilings and vestibules are elaborately ornamented with rosettes and coffered roofs. The entrance ceiling is decorated with a fresco by Daniele da Volterra , who represented "Life of Fabio Massimo", the supposed classic founder of the Massimo family. The chapel on the 2nd floor was a room where the 14 year old Paolo Massimo, son of Fabrizio Massimo, was recalled briefly to life by Saint Philip Neri in March 16, 1583. The interior of the palace is open to public only on that day. Other notable events in the palace of the 16th century including various intrafamilial murders.

115. Palazzo Te ,

117. Church of Il Gesù, designed by Giacomo della Porta.

128. Piazza de Campidoglia

134. Old St. Peter's Basilica was the fourth century church begun by the Emperor Constantine between 326 and 333 AD. It was of typical basilical Latin Cross form with an apsidal end at the chancel, a wide nave and two aisles on either side. It was over 103.6 metres (350 feet) long and the entrance was preceded by a large colonnaded atrium . This church had been built over the small shrine believed to mark the burial place of St. Peter. It contained a very large number of burials and memorials, including those of most of the popes from St. Peter to the 15th century. Since the construction of the current basilica, the name Old St. Peter's Basilica has been used for its predecesor to distinguish the two buildings.

137. Michelangelo's plan, extended with Maderna's nave and facade

140. St. Peter's Basilica from Castel Sant'Angelo showing the dome rising behind Maderna's facade

141. Maderna's façade The façade designed by Maderna, is 114.69 metres (376.28 ft) wide and 45.55 metres (149.44 ft) high and is built of travertine stone, with a giant order of Corinthian columns and a central pediment rising in front of a tall attic surmounted by statues of Christ, John the Baptist , and eleven of the apostles.

142. The altar with Bernini's baldacchino

143. St Peter’s Piazza

149. Sistine Chapel

168. Let’s visit Pope Benedict………

169. Baroque Architecture Doorway of the Jesuit college, Heiligenstadt in Germany .

172. Santa Susanna by Carlo Maderno .

179. Façade of Sant'Andrea al Quirinale, bearing cardinal Pamphili crest.

182. Sant'Ivo alla Sapienza is a church in Rome . The church is considered a masterpiece of Roman Baroque church architecture, built in