Rennaissance Lecture

7/28/2019 Rennaissance Lecture

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The Italian Renaissance is best known for its cultural achievements. Accounts ofRenaissance

literature usually begin with Petrarch (best known for the elegantly polished vernacular sonnet

sequence of the Canzoniere and for the craze for book collecting that he initiated) and his friend and

contemporary Boccaccio (author of theDecameron

). Famous vernacular poets of the 15th centuryinclude the renaissance epic authors Luigi Pulci (author ofMorgante

), Matteo Maria Boiardo

(Orlando Innamorato), and Ludovico Ariosto (Orlando Furioso). 15th century writers such as the

poet Poliziano and the Platonist philosopher Marsilio Ficino made extensive translations from both

Latin and Greek. In the early 16th century, Castiglione (The Book of the Courtier) laid out his vision

of the ideal gentleman and lady, while Machiavelli cast a jaundiced eye on "la verit effettuale della

cosa"the actual truth of thingsin The Prince, composed, humanist style, chiefly of parallel

ancient and modern examples ofVirt. Italian Renaissance painting exercised a dominant influenceon subsequent European painting (see Western painting) for centuries afterwards, with artists such

as Giotto di Bondone, Masaccio, Piero della Francesca, Domenico Ghirlandaio, Perugino,

Michelangelo, Raphael, Botticelli, Leonardo da Vinci, and Titian. The same is true for architecture,

as practiced by Brunelleschi, Leone Alberti, Andrea Palladio, and Bramante. Their works include

Florence Cathedral, St. Peter's Basilica in Rome, and the Tempio Malatestiano in Rimini (to name a

only a few, not to mention many splendid private residences: see Renaissance architecture

).

In contrast Northern and Central Italy had become far more prosperous, with the City-States amongthe wealthiest in Europe. The Crusades had built lasting trade links to the Levant, and the Fourth

Crusade had done much to destroy the Byzantine Empire as a commercial rival to the Venetians and

Genoese. The main trade routes from the east passed through the Byzantine Empire or the Arab

lands and onwards to the ports of Genoa, Pisa, and Venice. Luxury goods bought in the Levant,

such as spices, dyes, and silks were imported to Italy and then resold throughout Europe. Moreover,

the inland city-states profited from the rich agricultural land of the Po valley. From France,

Germany, and the Low Countries, through the medium of the Champagne fairs, land and river traderoutes brought goods such as wool, wheat, and precious metals into the region. The extensive trade

that stretched from Egypt to the Baltic generated substantial surpluses that allowed significant
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of Naples, outside powers kept their armies out of Italy. During this period, the modern commercial

infrastructure developed, with double-entry book-keeping,joint stock companies, an international

banking system, a systematized foreign exchange market, insurance, and government debt.[2]

Florence became the centre of this financial industry and the gold florin became the main currencyof international trade.

The new mercantile governing class, who gained their position through financial skill, adapted to

their purposes the feudal aristocratic model that had dominated Europe in the Middle Ages. A

feature of the High Middle Ages in Northern Italy was the rise of the urban communes which had

broken from the control by bishops and local counts. In much of the region, the landed nobility was

poorer than the urban patriarchs in the High Medieval money economy whose inflationary rise left

land-holding aristocrats impoverished. The increase in trade during the early Renaissance enhanced

these characteristics. The decline of feudalism and the rise of cities influenced each other; for

example, the demand for luxury goods led to an increase in trade, which led to greater numbers of

tradesmen becoming wealthy, who, in turn, demanded more luxury goods. This change also gave

the merchants almost complete control of the governments of the Italian city-states, again

enhancing trade. One of the most important effects of this political control was security. Those that

grew extremely wealthy in a feudal state ran constant risk of running afoul of the monarchy and

having their lands confiscated, as famously occurred to Jacques Coeur in France. The northernstates also kept many medieval laws that severely hampered commerce, such as those against usury,

and prohibitions on trading with non-Christians. In the city-states of Italy, these laws were repealed

or rewritten.[3]
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Philosophy

Petrarch, from the Cycle of Famous Men and Women. ca. 1450. Detached fresco. 247 153cm

(97.24 60.24in). Galleria degli Uffizi, Florence, Italy. Artist: Andrea di Bartolo di Bargilla (ca.

14231457)

One role ofPetrarch is as the founder of a new method of scholarship, Renaissance Humanism.

Humanism was an optimistic philosophy that saw man as a rational and sentient being, with the

ability to decide and think for himself, and saw man as inherently good by nature, which was in

tension with the Christian view of man as the original sinner needing redemption. It provoked fresh

insight into the nature of reality, questioning beyond God and spirituality, and provided for

knowledge about history beyond Christian history.

Architecture

Main article: Italian Renaissance and Mannerist architecture

In Florence, the Renaissance style was introduced with a revolutionary but incomplete monument in

Rimini by Leone Battista Alberti. Some of the earliest buildings showing Renaissance

characteristics are Filippo Brunelleschi's church of San Lorenzo and the Pazzi Chapel. The interiorofSanto Spirito expresses a new sense of light, clarity and spaciousness, which is typical of the

early Italian Renaissance. Its architecture reflects the philosophy ofHumanism, the enlightenment

and clarity of mind as opposed to the darkness and spirituality of the Middle Ages. The revival of

classical antiquity can best be illustrated by the Palazzo Rucellai. Here the pilasters follow the

superposition ofclassical orders, with Doriccapitals on the ground floor, Ionic capitals on thepiano

nobile and Corinthian capitals on the uppermost floor.

In Mantua, Leone Battista Alberti ushered in the new antique style, though his culminating work,Sant'Andrea, was not begun until 1472, after the architect's death.
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Villa Rotundo

Design

The site selected was a hilltop just outside the city of Vicenza. Unlike some other Palladian villas,

the building was not designed from the start to accommodate a working farm. This sophisticated

building was designed for a site which was, in modern terminology, "suburban". Palladio classed

the building as a "palazzo" rather than a villa.

Palladio's plan of Villa La Rotonda, inIQuattro Libri dell'Architettura 1570.

The design is for a completely symmetrical building having a square plan with four facades, each of

which has a projecting portico. The whole is contained within an imaginary circle which touches

each corner of the building and centres of the porticos. (illustration, left). The nameLa Rotonda

refers to the central circular hall with its dome. To describe the villa, as a whole, as a 'rotonda' is

technically incorrect, as the building is not circular but rather the intersection of a square with a

cross. Each portico has steps leading up, and opens via a small cabinet or corridor to the circular

domed central hall. This and all other rooms were proportioned with mathematical precision

according to Palladio's own rules of architecture which he published in the Quattro Libri

dell'Architettura.[1]

The design reflected the humanist values ofRenaissance architecture. In order for each room to

have some sun, the design was rotated 45 degrees from each cardinal point of the compass. Each of

the four porticos has pediments graced by statues ofclassicaldeities. The pediments were eachsupported by six Ionic columns. Each portico was flanked bya single window. All principal rooms

were on the second floor orpiano nobile.
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Pazzi ChapelThe Pazzi Chapel (Italian: Cappella dei Pazzi) is a religious building in Florence, central Italy,

considered to be one of the masterpieces ofRenaissance architecture. It is located in the "first

cloister" of the Basilica di Santa Croce.

History

Though funds for the chapel were assembled in 1429 by Andrea Pazzi, head of the Pazzi family,

whose wealth was second only to the Medici, construction did not begin until about 1441. The

chapel was completed in the 1460s, almost two decades after the death of the architect, Filippo

Brunelleschi, himself.

The main purpose ofthe building was obviously for the teaching of monks and other religious

purposes. However, a suspected ulterior motive was for the Pazzi family to make a mark on the city

of Florence Italy,to show their wealth and power in Renaissance era Italy. The fact that the city wasat war with a neighboring city at the time and still acquired the funds to build this chapel showed

the importance it had to the Pazzi family and the people of Florence.

Formerly considered a work ofFilippo Brunelleschi, it is now thought that he was responsible for

the plan, which is based on simple geometrical forms,[1] the square and the circle, but not for the

building's execution and detailing. A faade that he had begun, and of which only the lower register

can be seen, was partially obscured by the addition of a porch. The main inspiration for this piece

was the Dominican monastery of Santa Maria Novella in Florence Italy.

Th i f th h l d t i d b i ti ll ti l it ti h
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San AndreaThe faade, built abutting a pre-existing bell tower (1414), is based on the scheme of the ancient

Arch of Titus. It is largely a brick structure with hardened stucco used for the surface. It is defined

by a large central arch, flanked by Corinthian pilasters. There are smaller openings to the right and

left of the arch. A novel aspect of the design was the integration of a lower order, comprising the

fluted Corinthian columns, with a giant order, comprising the taller, unfluted pilasters. The whole is

surmounted by a pediment and above that a vaulted structure, the purpose of which is not exactly

known, but presumably to shade the window opening into the church behind it.

An important aspect of Albertis design was the correspondence between the faade and the interior

elevations, both elaborations of the triumphal arch motif. The nave of the interior is roofed by a

barrel vault, one of the first times such a form was used in such a monumental scale since antiquity,

and quite likely modeled on the Basilica of Maxentius in Rome. Alberti most likely had planned for

the vault to be coffered, much like the smaller barrel vault in the entrance, but lack of funds led to

the vault being constructed as a simple barrel vault with the coffers then being painted on.

Originally, the building was planned without a transept, and possibly even without a dome. This

phase of construction more or less ended in 1494.

In 1597, the lateral arms were added and the crypt finished. The massive dome (17321782) was

designed by Filippo Juvarra, and the final decorations on the interior added under Paolo Pozzo and

others in the late 18th and early 19th centuries.
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Santa Maria Novella

is a church in Florence, Italy, situated just across from the main railway station which shares itsname. Chronologically, it is the first great basilica in Florence, and is the city's principal Dominican

church.

The church, the adjoining cloister, and chapterhouse contain a store of art treasures and funerary

monuments. Especially famous are frescoes by masters ofGothic and early Renaissance. They were

financed through the generosity of the most important Florentine families, who ensured themselves

of funerary chapels on consecrated ground.

This church was calledNovella (New) because it was built on the site of the 9th-century oratory of

Santa Maria delle Vigne. When the site was assigned to Dominican Order in 1221, they decided to

build a new church and an adjoining cloister. The church was designed by two Dominican friars,

Fra Sisto Fiorentino and Fra Ristoro da Campi. Building began in the mid-13th century (about

1246), and was finished about 1360 under the supervision of Friar Iacopo Talenti with the

completion of the Romanesque-Gothicbell tower and sacristy. At that time, only the lower part of

the Tuscan gothic facade was finished. The three portals are spanned by round arches, while the rest

of the lower part of the facade is spanned by blind arches, separated by pilasters, with below Gothic

pointed arches, striped in green and white, capping noblemen's tombs. This same design continues

in the adjoining wall around the old churchyard. The church was consecrated in 1420.

On a commission from Giovanni di Paolo Rucellai, a local textile merchant, Leone Battista Alberti

designed the upper part of the inlaid black and white marble facade of the church (14561470). He

was already famous as the architect of the Tempio Malatestiano in Rimini, but even more for his

seminal treatise on architectureDe Re Aedificatoria, based on the bookDe Architectura of theclassical Roman writer Vitruvius. Alberti had also designed the facade for the Rucellai Palace in

Florence.
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The stained-glass windows date from the 14th and 15th century, such as 15th centuryMadonna and

Childand St. John and St. Philip (designed by Filippino Lippi), both in the Filippo Strozzi Chapel.

Some stained glass windows have been damaged in the course of centuries and had to be replaced.

The one on the facade, a depiction of the Coronation of Mary dates from the 14th century, based ona design of Andrea Bonaiuti.

The pulpit, commissioned by the Rucellai family in 1443, was designed by Filippo Brunelleschi and

executed by his adopted child Andrea Calvalcanti. This pulpit has a particular historical

significance, because from this pulpit the first attack came on Galileo Galilei, leading eventually to

his indictment.
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Palazzo Rucellai

is a palatial 15th century townhouse on the Via della Vigna Nuova in Florence, Italy. The RucellaiPalace is believed by most scholars to have been designed by Leon Battista Alberti between 1446

and 1451 and executed, at least in part, by Bernardo Rossellino. Its facade was one of the first to

proclaim the new ideas ofRenaissance architecture based on the use ofpilasters and entablatures in

proportional relationship to each other.

Description

The grid-like facade is achieved through the application of a scheme of trabeated articulation. The

stone veneer of this facade is given a channeled rustication and serves as the background for the

smooth-faced pilasters and entablatures which divide the facade into a series of three-story bays.

The three stories of the Rucellai facade have different classical orders, as in the Colosseum, but

with the Tuscan order at the base, a Renaissance original in place of the Ionic order at the second

level, and a very simplified Corinthian order at the top level. Twin-lit, round-arched windows in the

two upper stories are set within arches with highly pronounced voussoirs that spring from pilaster to

pilaster. The facade is topped by a projecting cornice.

The ground floor was for business (the Rucellai family were powerful bankers) and was flanked by

benches running along the street facade. The second story (the piano nobile) was the main formal

reception floor and the third story the private family and sleeping quarters. A fourth "hidden" floor

under the roof was for servants; because it had almost no windows, it was quite dark inside.

The palace contains an off-center court (three sides of which originally were surrounded by
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Dome

By the beginning of the fifteenth century, after a hundred years of construction, the structure was

still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in

1296. His brick model, 4.6 metres (15ft) high 9.2 metres (30ft) long, was standing in a side aisle of

the unfinished building, and had long ago become sacrosanct.[5] It called for an octagonal dome

higher and wider than any that had ever been built, with no external buttresses to keep it from

spreading and falling under its own weight.

The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravante's

model was chosen over a competing one by Giovanni di Lapo Ghini.[6] That architectural choice, in1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval

Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic

flying buttresses as ugly makeshifts and since the use of buttresses was forbidden in Florence, in

addition to being a style favored by central Italy's traditional enemies to the north.[7] Neri's model

depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in

a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on

an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading

(hoop stress), but none had yet been designed.

The building of such a masonry dome posed many technical problems. Brunelleschi looked to the

great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of

concrete, the formula for which had long since been forgotten. A wooden form had held the

Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by

Neri, starting 52 metres (171ft) above the floor and spanning 44 metres (144ft), there was not

enough timber in Tuscany to build the scaffolding and forms.[8] Brunelleschi chose to follow suchdesign and employed a double shell, made of sandstone and marble. Brunelleschi would have to

build the dome out of bricks, due to its light weight compared to stone and easier to form, and with
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A circular masonry dome, such as that ofHagia Sophia in Istanbul can be built without supports,

called centering, because each course of bricks is a horizontal arch that resists compression. In

Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it

at each level, a feature that would hold the dome up eventually, but could not hold the bricks inplace while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the

weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.[10]

The outer dome was not thick enough to contain embedded horizontal circles, being only 60

centimetres (2ft) thick at the base and 30 centimetres (1ft) thick at the top. To create such circles,

Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations,

creating nine masonry rings, which can be observed today from the space between the two domes.

To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its

base; it has no embedded chains.[11]

A modern understanding of physical laws and the mathematical tools for calculating stresses was

centuries into the future. Brunelleschi, like all cathedral builders, had to rely on intuition and

whatever he could learn from the large scale models he built. To lift 37,000 tons of material,

including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large

stones. These specially designed machines and his structural innovations were Brunelleschi's chiefcontribution to architecture. Although he was executing an aesthetic plan made half a century

earlier, it is his name, rather than Neri's, that is commonly associated with the dome.

Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo

another competition.

The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio,

in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinatedby Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a

series of sketches of them and as a result is often given credit for their invention [12]
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Lecture 14: Italian Renaissance: 1420 ~ 1600 AD

Humanism versus Religion

Science versus Irrationalism

Human exist in Nature


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The Renaissance changed how we think about:

Art

Philosophy

Science

Architecture


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Brunelleschi

Alberti

Palladio


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Lecture 14: Italian Renaissance: 1420 ~ 1600 AD Il Domo

Pazzi Chapel The Palazzo Rucellai

San Maria Novella

San Andrea

Villa Capra (Villa Rotonda)


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Date: 1290 - 1591 AD Architect: Arnolfo di Cambio and Lorenzo Maitani

Orvieto Cathedral, Orvieto, Italy


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Date: 1296 - 1463 AD Architect: Arnolfo di Cambio and Filippo Bruneschelli

Florence Cathedral: Florence, Italy


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Date: 1436 AD Architect: Filippo Brunelleschi

Il Duomo: Florence, Italy


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Date: 1296 - 1463 AD Architect: Arnolfo di Cambio and Filippo Bruneschelli

Florence Cathedral: Florence, Italy


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Pazzi Chapel: Florence, Italy


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Date: 1420 AD Architect: Leon Battista Alberti

San Maria Novella : Florence, Italy


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Date: 1446-1451 AD Architect: Leon Battista Alberti

Palazzo Rucellai: Florence, Italy


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San Andrea: Florence, Italy


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Ten Books on Architecture


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Date: 1567 AD Architect: Andrea Palladio

Villa Capra (Villa Rotonda): Vicenza, Italy


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Rennaissance Lecture

Documents

Transcript of Rennaissance Lecture