RENAISSANCE ARCHITECTURE

INTRODUCTION

The broad term Renaissance derived from the Latin meaning “to be born again”.
This notion of rebirth is mostly applied to the social, economic and political
changes that took place during 14th and 15th century AD in Italy, which was rich in
ancient Roman monuments, and was the pioneer in the Renaissance movement.
Renaissance Architecture is a style which used Gothic methods in construction
but, classical character of Roman Architecture. The Renaissance Architect
adopted Byzantine treatment of domes over square compartments. They made
the exterior of domes dominating features by further increasing the height of
drum and decorating not only with windows but also with new columns. The
pointed arch was now ousted by semicircular Roman Arch. Gothic vault gave
place to the ancient Roman semi-circular vaults and cross vaults. By the end of
15th century AD parts of Northern Europe were also affected and in the 16 th
century AD, wider spread changes were occurred in art/architecture. The
Renaissance was a period of discovery in manifolds of new scientific laws, new
forms of arts and literature, new religions and political ideas new lands including
America. The first concern of the period was the revival of ancient culture.

INFLUENCES

Historical

The fall of Constantinople in 1453 AD brought a huge number of learned Classic

teachers (mostly Greeks) to Europe. This greatly increased interest in all aspects
of classic tunes: literature, history, art, architecture and town planning.

At about this same time an increasing opposition to the practices of the Solo
Roman Catholic Church in Western Europe lead to a move by “Protestors” to
Reform Catholic Church. This became known as the Reformation and the
reformist as ‘Protestants’. This split Western Europe about it half and caused a
cultural division which would take two parts (Catholic and Protestant) in different
aesthetic directions.

Among the leading architects of the period were sculptures Filippo Brunelleschi
and Michelangelo and three painters Leonardo Da Vince, Raphael and Gulio
Romano. Leonardo was a scientist, Michelangelo philosopher and Leon Battista
Alberti and Andrea Palladio wrote treaties on Architecture.

ARCHITECTURAL CHARACTERISTICS

The Renaissance movement, begun in Italy in the 15 th century, created a break in

the continuous evolution of European architecture. The salient characteristic of
this new departure from Gothic was the employment of the Classic Roman
'Orders of Architecture', which were reintroduced after a thousand years (Tuscan,
Doric, Corinthian, Ionic and Composite).

Plan

The plans of Renaissance buildings have a

square, symmetrical, planned appearance in
which proportions are usually based on a module.
Within a church the module is often the width of
an aisle. The need to integrate the design of the
plan with the façade was introduced in the work
of Filippo Brunelleschi, but he was never able to
carry this aspect. The first building to
demonstrate this was St. Andrea in Mantua by
Alberti. The development of the plan in secular
architecture was to take place in the 16th century,
with the work of Palladio.
Facade

Façades are symmetrical around their

vertical axis. Church facades are
generally surmounted by a pediment
and organized by a system of
pilasters, arches and entablatures.
The columns and windows show a
progression towards the centre. One
of the first true Renaissance facades
was the Cathedral of Pienza (1459-
62), which has been attributed to the
Florentine architect Bernardo
Gambarelli (known as Rossellino) with
Alberti perhaps design some parts of it. Domestic buildings are often surmounted
by a cornice. There is a regular repetition of openings on each floor, and the
centrally placed door is marked by a feature such as a balcony, or rusticated
surround. An early and much copied prototype was the façade for the Palazzo
Rucellai (1446 - 1451) in Florence with its three registers of pilasters

Columns and Pilasters

The Roman orders of columns are used: - Tuscan, Doric, Ionic, Corinthian and
Composite. The orders can either be structural, supporting an arcade or
architrave, or purely decorative, set against a wall in the form of pilasters. During
the Renaissance, architects aimed to use columns, pilasters and entablatures as
an integrated system. One of the first buildings to use pilasters as an integrated
system was in the Old Sacristy (1421-1440) by Brunelleschi.

Arches

Arches are semi-circular or (in the Mannerist style) segmental. Arches are often
used in arcades, supported on piers or columns with capitals. There may be a
section of entablature between the capital and the springing of the arch. Alberti
was one of the first to use the arch on a monumental scale at the St. Andrea in
Mantua.

Vaults

Vaults do not have ribs. They are semi-circular or segmental and on a square
plan, unlike the Gothic vault which is frequently rectangular. The barrel vault is
returned to architectural vocabulary as at the St. Andrea in Mantua.

Ceilings

Roofs are fitted with flat or coffered ceilings. They are not left open as in
medieval architecture. They are frequently painted or decorated.
Domes

The dome is used frequently, both as a very large structural feature that is visible
from the exterior, and also as a means of roofing smaller spaces where they are
only visible internally. While the Byzantines contributed the pendentive domes,
allowing domical vaults to be erected over polygonal compartments, a particular
development was raising a high drum above pendentives to accommodate not
only windows but decoration with the classical columns. The dome is crowned
with a lantern and the pointed arch of the Gothic was changed into the Roman
semi-circular arch. Domes had been used only rarely in the Middle Ages, but
after the success of the dome in Brunelleschi’s design for the Basilica di Santa
Maria del Fiore and its use in Bramante’s plan for St. Peter's Basilica (1506) in
Rome, the dome became an indispensable element in church architecture and
later even for secular architecture, such as Palladio's Villa Rotonda.

Doors

Doors 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 AD. 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.

Walls

External walls are

generally of highly-
finished ashlar masonry,
laid in straight courses.
The corners of buildings
are often emphasized by
rusticated “quoins”.
Basements and ground
floors were often
rusticated, as modeled
on the Palazzo Medici Riccardi (1444-1460) in Florence. Internal walls are
smoothly plastered and surfaced with white-chalk paint. For more formal spaces,
internal surfaces are decorated with frescoes.

Details

Courses, moldings and all decorative details are carved with great precision.
Studying and mastering the details of the ancient Romans was one of the
important aspects of Renaissance. The different orders each required different
sets of details. Some architects were stricter in their use of classical details than
others, but there was also a good deal of innovation in solving problems,
especially at corners. Moldings stand out around doors and windows rather than
being recessed, as in Gothic Architecture. Sculptured figures may be set in
niches or placed on plinths. They are not integral to the building as in medieval
architecture. Baluster was also introduced, not known to the Romans. Baluster is
one of a number of short vertical members often circular in section used to
support a stair handrail or a coping.
RENAISSNCE ARCHITECTURE IN ITALY

Italy of the 15th century, and the city of Florence in particular, was home to the
Renaissance. It is in Florence that the new architectural style had its beginning,
not slowly evolving in the way that Gothic grew out of Romanesque, but
consciously brought to being by particular architects who sought to revive the
order of a past "Golden Age". The scholarly approach to the architecture of the
ancient coincided with the general revival of learning.

The architecture of the Renaissance, which began in the 1300’s Italy, was
looking back to “the good old days” of antiquity to the splendid image of ancient
Rome. The world history was viewed in three phases – antiquity, the middle ages
and the age of the Renaissance. The idea was not to copy the ancients, but to
built on its ideas and surpasses it. There was an intense study of the Roman
classic work on Architecture by Vitruvius treatise De Architectura. This book and
the relics of Roman architecture were first studied by the Italian architects who
lead them to the basis for this new old design. With this book, other printings
were also done by contemporary architects and writers such as Brunelleschi,
Alberti and Palladio.

The Renaissance is Italy can be broadly classified into four main periods:

 Early Renaissance or Quattrocento – 15th century

 High Renaissance and Mannerism – 16th century
 Baroque and Rococo – 17th – early 18th century
 New Classical – mid 18th – early 19th century

EARLY RENAISSANCE

This style revival of ancient architectural principles began in Florence with the
work of Fillippo Brunelleschi (1377-1446 AD). The underlying feature of the work
of Brunelleschi was "order". The leading architects of the Early Renaissance or
Quattrocento were Brunelleschi, Michelozzo and Alberti.

The next well known developer of this period was Leon Battisti Alberta (1404-
1472 AD) who went for Antiquity (Archaeological) and introduced specific ancient
feature such as triumphal arch and temple font into churches.

This style of architecture is based on:

 Simple modular proportion

 Clarity of design
 Standardized vocabulary of monolithic grey stone columns and pilasters
set against white plaster walls
 Forms details more on Tuscan Romanesque
 Arches supported on columns (is the norm)
 Pendentive vaults
EXAMPLES

DOME OF FLORENCE CATHEDRAL (1420-1434 AD)

Brunelleschi's first major architectural commission was for the enormous brick
dome which covers the central space that of Florence's cathedral, designed by
Arnolfo di Cambio in the 14th century but left unroofed. While often described as
the first building of the Renaissance, Brunelleschi's daring design utilizes the
pointed Gothic arch and Gothic ribs. It seems certain that while stylistically
Gothic, the dome is in fact structurally influenced by the great dome of Ancient
Rome - dome of the Pantheon.

Brunelleschi was aware that a dome of enormous proportion could in fact be

engineered without a keystone. The dome in Florence is supported by the eight
large ribs and sixteen more internal ones holding a brick shell, with the bricks
arranged in a herringbone manner. Although the techniques employed are
different, in practice both domes comprise a thick network of ribs supporting very
much lighter and thinner infilling. And both have a large opening at the top.
S. SPIRITO, Florence (1436 AD)

Begun two years before Brunelleschi’s death, it was not completed until 1486. It
remains a perfect example of composition by the addition of identical units,
typical of early Renaissance culture. All dimensions are derived from the
measurement of the radius of the nave, arches by the arithmetical multiplication.
The width of the nave; Brunelleschi’s successors shrank from the ultimate
conclusion of this repetitive scheme and built a face with three doors instead of
the four bays which the scheme demanded.
PAZZI CHAPEL, S. Croce, Florence (1429-1461 AD)

It is considered to be one of the masterpieces of Renaissance architecture. Once

thought to be a work of Filippo Brunelleschi, it now seems that he most probably
was responsible for the plan, which is based on simple geometrical forms, the
square and the circle, but not for the building's execution and detailing. A façade
that he had begun was partially obscured by the addition of a porch. The size of
the chapel was predetermined by existing walls, creating an unusual situation.
The building gives us insight into the ambitions of Renaissance architects in their
struggle to bring coherency to the architectural language of columns, pilasters,
arches and vaults. Between the pilasters in the transept there are tall, blank,
round headed panels and above them, roundels and common Renaissance
decorative motifs. As to the architect, scholars argue that it could have been
either the work of Giuliano da Maiano or Michelozzo.

THE MEDICI PALACE (PALAZZO RICCARDI) Florence (1444 AD)

Palazzo Riccardi is Michelozzi's best known building of Tuscan Palace design.

The rooms are arranged around an open cortile the main apartments being those
on the 'piano nobile', approached by an unpretentious but generous staircase,
not symmetrically placed. The more intimate of the family rooms were in the
second floor. The exterior is an admirable astylar example and shows effect of
graduated rustication. The ground storey has heavily rusticated masonry, with
semi-circular arches enclosing windows added from the designs of Michelangelo.
The intermediate storey has channeled masonry with bifurcated windows and the
upper storey, in plain ashlar masonry, has similar windows. The whole facade is
crowned by a bold cornice, about 1 /8 th the height of the building and projecting
2.5 m (8 ft 4 in).
SAINT ANDREA, Mantua (1470-1700 AD)

Begun by Alberti in 1472 AD the year of his death, Sant Andrea was completed
in the 18th century AD by Filippo Juvara, who built the dome the plan initiated the
Latin cross type with a single nave flanked by chapels, which was later adopted
in numerous churches. The majestic facade combining a triumphal arch with a
temple front is the most distinctive feature of the exterior. The overall conception
indicates a very free attitude towards ancient models.

THE OPSEDALE MAGGIORE, Milan (1456 AD – 18th century AD)

S. MARIA DELLA GRAZIE, Milan (1493 AD)

The church is also famous for the mural of the Last Supper by Leonardo da Vinci,
which is in the refectory of the convent.

PALAZZO DELLA CANCILLERIA, Rome (1485 AD)

The Palazzo della Cancelleria, is the first really important Renaissance building
in Rome, and was a rebuilt residence for Cardinal Riario, incorporating St.
Lorenzo in Damaso, an ancient Basilica which previously had been on another
site.

The façades are of travertine stone robbed from the coliseum; they rise in three
main tiers; the lowest in channeled masonry and the two upper each ornamented
with plain Corinthian pilasters arranged in alternating spacing instead of the
regular spacing of earlier stylar palaces. The intermediate full entablature is
subdued, while that at the top has vertical modillions across the frieze, giving it all
the vigor of the crowning cornice of the coliseum. The shallow pilasters stand up
on simulated pedestals, the corresponding 'blind' parapets serving as aprons to
the main windows, which latter have arched openings on the first floor, fitted
within square, corniced head. The wings of the principal facades are advanced
slightly, and round the corner to the left of the entrance front is a first floor
balcony with extremely delicate decoration. The imposing cortile, 31.5 m x 19 m
(104 ft. x 63 ft.), is surrounded by two storey of arcades of Doric columns
carrying a third, solid storey ornamented with pilasters spanning two tiers of small
windows in height and carrying a bold cornice similar to that on the fronts.
S. MARIA DEI MIRACOLI, Venice (1481 – 1489 AD)

It is also known as the "marble church". The church has a false colonnade on the
exterior walls (pilasters) and a semicircular pediment. The main altar is reached
by a series of steps. The circular facade windows recall Donato Bramante's
churches in Milan. It was built between by Pietro Lombardo to house a
miraculous icon of the Virgin Mary. The interior is enclosed by a wide barrel vault,
with a single nave. The naive is dominated by an ornamental marble stair rising
between two pulpets, with statues by Tullio Lombardo, Alessandro Vittoria and
Nicolò di Pietro. The vaulted ceiling is divided in fifty coffers decorated with
paintings of the prophets's faces

HIGH RENAISSANCE AND MANNERISM

The High Renaissance style in Rome (1500-1514 AD) began with the work of
Bramanta. This style aim was monumentality, emulation of the massive spatial
effects of Imperial Roman Architecture and use of language of order. Raphael
(1483-1520 AD) also came closest of all Renaissance Architects in realizing the
decorative richness and variety of ancient Architecture and was followed by
Peruzzi (1481-1536 AD) and Giulio Romano (1455-1546 AD).
This stage was set for the emergency of two main items in 16 th century
Architectural style:

(i) A tendency of correctness and formulation of rule

(ii) An inventiveness verging on Eccentricity

The second one is often called the ‘Mannerist’. This style although break the
classical rule, but merely reject the ancient example. The most influential
Architects of mid century were Michelangelo (1475-1564 AD), Palladio (1508-
1580 AD). Michelangelo’s concept of Plastic approach to the wall mass, his
spatial innovations and fantastic sculpture details later paved the way for the
Baroque. And Palladio concept of clear Hermonious proportion masterly
deployment of select standardized antique forms and systematic formulation of
rules. Michelangelo is credited with inventing the giant order, a large pilaster that
stretches from the bottom to the top of a facade. He used this in his design for
the Campidoglio in Rome.

EXAMPLES

TEMPIETTO, in the cloister of S. PIETRO, Montorio, Rome (1502 AD)

The Tempietto in St. Pietro in Montorio, Rome, erected to mark the spot where
St. Peter was martyred, is a perfect architectural gem by Bramante, in full High
Renaissance style, resembling in design a small Roman circular temple. It is only
4.5 m (15 ft) in diameter internally and is surrounded by a Doric peristyle, behind
which rises the drum, pierced with windows alternating with shell-headed niches
and carrying a dome.
S. PETER’S, Rome (1506-1626 AD)

It is the most important building of this period and was the outcome of the work of
many architects under the direction of many Popes during a period of 120 years.
The present cathedral had its origin in the intention of Pope Julius II to erect a
tomb house for himself, since he wanted to erect a monument as should
enshrine all the magnificence which he wished to stand as associated with the
papal power, the Christian religion and the Latin race.

A competition produced several designs, and that of Bramante was selected.

Planned as a Greek cross, the foundation stone was laid in 1506 and the
proposed dome was founded on that of the Pantheon, with the addition of a
peristyle and Lantern. In 1513, on the death of Julius II, Bramante was
superseded by Giuliano da Sangallo, Fra Giocondo and Raphael. Raphael
proposed a plan in the shape of a Latin cross, but when he died, Baldassarre
Peruzzi, as appointed architects reverted to the Greek-cross plan. On the death
of Peruzzi, Antonio de Sangallo submitted a slightly altered plan, with an
extended vestibule, lofty campanile, and elaborated central dome. On his death
ten years later, Michelangelo, then in his 72nd year, succeeded him, and the
present building owes most of its outstanding features to him. He used a Greek-
cross plan, strengthened the piers of the dome, and redesigned the surrounding
chapels and apses. He reduced the original and indeterminate number of bays to
each limb of the church from two to one.

The Dome was completed in 1590 by Giacomo della Porta and Domenico
Fontana. In 1564 Vignola had added sided cupolas but these became ineffective
when Carlo Maderna lengthened the nave to form a Latin cross and added the
gigantic facade (1606-12). Finally Bernini erected in 1655-67 the noble entrance
piazza 198 m (650 ft) wide, surrounded by 284 columns forming the imposing
Fourfold Tuscan colonnades. Chatedral, Piazza and Vatican form a world famous
group.

The completed plan of vast proportions is a Latin cross with an internal length of
183 m (600 ft) and an internal width across the transepts of 137 m (450 ft), while
the total external length, including portico, is 213.4 m (700 ft). The nave, 25.6 m
(84 ft) wide, consists of four immense bays. The crossing is covered by the
majestic dome 41.9 m (137 ft 6 in) internal diameters, while the short transepts
and the sanctuary are terminated by semicircular apses. The magnificent
entrance portico 71.3 m x 13.3 m (234 ft x 43 ft 6 in), extends the whole width of
the church and leads to the interior, the walls of which are of brick faced by a
gigantic order of Corinthian pilasters, 25.5 m (83 ft 6 in) high, and entablature 6.1
m (20 ft) high. Surmounted by a semicircular barrel vault, coffered, glided and
frescoed, 46 m (150 ft) above the marble pavement. The four stupendous piers,
18 m (60 ft) square which uphold the dome have colossal statues 4.9 m (16 ft)
high. The throne of St. Peter, in the western apse, is a Baroque work of Bernini,
30.5 m (100 ft) high, covering the high altar which stands over the alleged tomb
of St. Peter in the crypt, behind the Dome.
PALAZZO FARNESE, Rome (1517-1589 AD)

Palazzo Farnese is a prominent High Renaissance palace in Rome, designed by

Antonio da Sangallo the Younger, one of Bramante's assistants in the design of
St. Peter's. Michelangelo was employed to complete the third story with its deep
cornice and revise the courtyard. The massive facade dominates a small piazza;
the features of its facade are the alternating pediments that cap the windows, the
central rusticated portal and Michelangelo's projecting cornice. The courtyard,
initially open arcades, is ringed by an academic exercise in ascending orders
(Doric, Corinthian, and Ionic).
BASILICA VICENZA, Vicenza (1549 AD)

The Basilica, Vicenza, is famous for its Renaissance arcades added by Palladio.
The design was won in competition in 1545 and completed in 1614. This has
three sides of the building with two story facade of Doric below and Ionic above.
The openings are framed by half columns which are doubled at the corner. The
end bays on each facade were unrestricted in width, so Palladio made them
narrower in order to give an effect of strength at the angles. These arcades, in
time hard stone which, under the main entablature; frame intervening arches
supported on smaller freestanding twin columns, and there are circular openings
in the spandrels. This grouping and combination of columns and arches has
been termed the "Palladian Motif", and is exceedingly effective especially when
seen in conjunction with the slender campanile alongside. This brilliantly flexible
solution allows for site constrictions and irregular bay widths due to the Gothic
core behind, since the side openings of the Serliana can be expanded or
contracted at will. A balustrade punctuated by sculpture crowns this soberly
magnificent structure.
VILLA ALMERICO CAPRA, (LA ROTUNDA VICENZA) Mantua (1566 AD)

Its square plan is based on double symmetry dictated by 4 flights of steps. At the
centre is the rotunda. With its columned porches surmounted by pediments and
central domed hall, this was how Palladio imagined Roman villas to have been.
This is a typical example of rigor and balance that typified the Renaissance.
TEATRO OLIMPICO (OLYMPIC THEATER), Vicenza (1575 AD)

Designed by Palladio and completed

after his death in 1580 AD by
Scamozzi. The elliptical cavea,
surmounted by a columned gallery of
which the central portion is closed with
niches was inspired by the plan of an
amphitheatre cut in two along its
longitudinal axis, but the theatre
reflects antiquity by being roofed. A
fascinating innovation was the
enhanced perspective effects offered
by the openings in the stage wall. This
is the sole Renaissance structures of
that kind to have survived until
contemporary times, and the Teatro
Olimpico is the oldest surviving
Renaissance Theater.

BAROQUE/ROCOCO

BAROQUE

The movement, spatial invention, drama and freedom of details associated with
the Baroque are a delayed response to Michelangelo’s achievement. This
Baroque style was a new phase of Architectural developments. It was perhaps
the outcome of reaction against the blind worship of the Roman Architecture.
Beauty living Italians revolved against the lifeless art. They wanted freedom in
plan, design and ornament. The spirit of the Artistic is dependence was often
expressed in frontages, over burdened decoration and apparent disregard of time
constructive principle.

This style consisted of twisted shaft, huge wavy scrolls and flying figures in
dangerous looking position. The style, in spite of its many glaring defects has
given relief formed in Architecture, which did not allow any novelty of designs.

The Baroque style finds its expression in Villas Summer Results, and Gardens
which were built to meet the growing desire of wealthy people for outdoor life.
Bernini (1598-1680 AD) the founder of Roman Baroque and other were Pietro Da
Cortuna (1596-1669 AD), Francesco Borronim (1599-1667 AD), Guarino Guarini
(1624-1683 AD) and Fillipo Juvarra (1678-1736 AD). Carlo Maderno (1556-1629
AD) - introduced a vigorous, sculptural approach to Architectural design in the 1 st
decade of 17th century AD.
EXAMPLES

PALAZZO BARBERINI, Rome (1628-1633 AD)

The palazzo is around a forecourt centered on Bernini's grand two-storey hall,

with an extended wing dominating the piazza, which lies on a lower level. The
main block presents three tiers of great arch-headed windows, like glazed
arcades. On the uppermost floor, Borromini's windows are set in a false
perspective that suggests extra depth, a feature that has been copied into the
20th century. Flanking the hall, two sets of stairs lead to the piano nobile, a large
squared staircase by Bernini to the left and a smaller oval staircase by Borromini
to the right.

PIAZZA OF ST. PETER, Rome (1656 – 1667 AD)

The piazza, which lies before the basilica, designed by Bernini under the
direction of Pope Alexander VII as an appropriate forecourt, designed "so that
the greatest number of people could see the Pope give his blessing, either from
the middle of the façade of the church or from a window in the Vatican Palace".
The obelisk marked a center, and a granite fountain by Maderno stood to one
side: Bernini made the fountain appear to be one of the foci of the ellipse
embraced by his colonnades and eventually matched it on the other side, in
1675, just five years before his death. The colossal Tuscan colonnades, four
columns deep frame the trapezoidal entrance to the basilica and the massive
elliptical area. The ellipse's long axis, parallel to the basilica's façade, creates a
pause in the sequence of forward movements that is characteristic of a Baroque
monumental approach. The colonnades define the piazza. The elliptical center of
the piazza, which contrasts with the trapezoidal entrance, encloses the visitor
with "the maternal arms of Mother Church" in Bernini's expression. At the center
of the ellipse stands an Egyptian obelisk of red granite, 25.5 m tall, supported on
bronze lions and surmounted by the Chigi arms in bronze, in all 41 m to the cross
on its top. The obelisk, of the 13th century BC, was moved to Rome in AD 37 by
the Emperor Caligula to stand in the central spina of the Circus Gai et Neronis,
which lay to the left of the present basilica. The Vatican Obelisk is the only
obelisk in Rome that has not toppled since ancient Roman times.
ROCOCO

In early 18th century, Rome came with new style Spanish steps possessing a
curvilinear elegance and sprightness giving a new name Rococo Style.

EXAMPLE

PALAZZO STANGA, Cremona (18th century AD)

The fanciful carving frames of the Arches/window are characteristic features.

TREVI FOUNTAIN, Rome

It is the largest foundation, 25.9 m (85 ft) high and 19.8 m (65 ft) wide and most
ambitious of the Baroque fountains of Rome. It is made by Nicola Salvi. It is
fused to a palace facade.
NEOCLASSICAL

During mid 18th century a new style evolved called Neo-Classical which is a
revival of classical style. The Greek revival did not hold in Italy for long but during
the period of Napoleone, a wave of French inspired Neo Classical public building,
as well as grand some town planning scheme. Architect Giovanni Battista
Piranesi (1720-1778 AD) is best known for his dramatic architectural etching and
for championing Roman Architecture at the expense of Greek.

EXAMPLES

SS. SIMEONE E GIUDA, Venice (1718-1738 AD)

 Rigid classicism inspired by the pantheon, with

Pedimented Portico.

 The dome is of the stilted Byzantine type) which is

traditional to Venice.

LA SCALA, Milan (1776-1780 AD)

A theatre (seven bay facade an arcaded ground floor with flat banded projection,
upper level is articulated with an order of paired composite columns.
RENAISSANCE ARCHITECTURE IN FRANCE

Development of Architecture from 15th-19th century AD as follows:

 The French Renaissance (15th-17th AD)

 The classical period (17th-18th AD)
 Rococo and Neo classical (18th-19th AD)

THE FRENCH RENAISSANCE

The Renaissance in France was encouraged by the Italian campaign of Charles

VII and Louis XII and aware influenced by Antiquity and Italian Craftsman.

Architect are Jean Andronet du Cerrcau and Francois Mausart (1596 – 1666 AD)

THE CLASSICAL PERIOD

The use of word ‘classical’ in French Architecture is not a direct imitation of the
Antique models, but to indicate a performance in that period for quetities of Logic,
Balance and Clarity.

The greatest Architects of the period are Jacques Lemmercier (1585-1659 AD),
Francois Mansan (1598-1666 AD) and Louis Levau (1612-1670 AD)

Seventeenth century France resisted the Baroque (Bernin’s Design for the
Louvre no Favor.

ROCOCO AND NEO-CLASSICAL

French Rococo was a style to Interiors and no stylistic break is evident in the
design of facade, using vertical pilaster. This is an architecture of intimate
comfortable residence Asymmetrical with greater separation of private and public
apartments and much use of round corners and sinuous curves and is
characterized by Asymmetrical Arabesques, the use of ‘c’ and ‘s’ curves known
as ‘Rochelle’. Rococo had little effect on French Design.

The neo-classical movement in France drew in long traditions of classically

based teaching in Academy of Architects in PARIS and Archaeological ideas.

EXAMPLES

CHATEAU DE CHENONCEAUX, Near Paris (1515-1559 AD)

The early section was built from 1515 AD and Italian influence can be seen in the
decoration, the symmetry of the facades and the straight flights of internal
staircase. The bridge was built between 1555-1559 AD and the gallery from 1559
AD onwards by Jean Bulant, architect to Catherine de medicis.
CHATEAU DE CHAMBOARD (1519-1547 AD)

It is designed by an Italian architect, Domenico da Cortona and the most famous

structure in the Loire district. It is semi-fortified in character and has a plan
reminiscent of a Mediaeval 'concentric' caste, being made up of two rectangles
one within the other, but wit the facade of the smaller on the same line as that of
the outer court, which thus protects it on three sides, while the fourth is protected
by the moat. Many different influences are evident at Chambord, typical of hybrid
character of French architecture at beginning of the 16 th century AD. With round
towers and high roofs, it has a medieval aspect. But the plan is modern: the great
quadrangle appears to develop from the inner “keep” in the keep itself, fort
identical apartments are divided by the arms of a vestibule in the shape of a
Greek cross.

This inner block, 67m (220 ft) square, corresponds to the keep of an English
castle, and has four lofty halls on each floor, finished by elliptical barrel vaulting.
At the junction of these halls is the world-famous double spiral staircase, by
which people can ascend and descend simultaneously without being visible to
each other. It is built up in a cage of stone crowned with a storied 'lantern' which
forms the central feature of the exterior. There is much waste of space, as
rectangular rooms are formed in the circular towers. This remarkable pile has
many Gothic features clothed with Renaissance detail, and a vertical Gothic
effect is produced by wall pilasters with unique carved capitals. At this time
French religious architecture was closely analogous with secular architecture.
CHATEAU OF FONTAINEBLEAU, France (1528-1540 AD)

Built by the master mason Gilles Le Breton around the keep of a small medieval
chateau, the work being carried out in several stages that lasted until the 18 th
century AD; hence the irregularity in plan and lack of unity in style. Even so, the
initial plan, which was probably the result of successive decisions under Francois
I was largely adhered to. The Gallery of Francois I, with its frescoes framed in
stucco by Rosso, 1533-1540 AD, is the first great decorated gallery in France.
The exterior is remarkably ineffective in composition and the palace depends for
its attraction of the court. Formal gardens, terraces, lakes and radiating vistas,
while the chief interest lies in architectural features of the interior.

THE LOUVRE, Paris (1546-1878 AD)

Palais, du Louvre, Paris was in course of construction from the time of Francis I
to Napoleon III in the 19th century. The Louvre, together with the Tuileries,
constituted one of the most imposing palaces in Europe, and enclosed an area of
over 45 acres. The facade of the early designed consists of two storey with
Corinthian and composite pilasters surmounted by an attic storey, and is
enriched with beautiful sculptured detail by Jean Goujon. The gallery facing the
Seine was erected by J.A. du Cerceau II, in which pilasters including two storey
were surmounted by alternately triangular and segmental pediments.
CHATEAU DE MAISONS, Near Paris (1642-1646 AD)

The Chateau de Maisons is one of the most pleasantly harmonious of all the
chateaux. It was designed by Francois Mansart on a symmetrical E-plan with
central entrance and twin oval-shaped side vestibules. It is notable externally for
the effective use of the classic orders and the high roofs with prominent chimney
stacks, of the three pavilions, and internally for the refinement of detail of the
balustrade stairs, carved chimney pieces ornamental ceilings.

It was regarded by Voltaire and his contemporaries as the purest example of

French classical architecture, and the King Louis XV considered buying it and
adapting it to his needs but decided that this would be vandalism. The building
and decoration of the interior have survived almost unaltered, but the magnificent
gardens and park which surrounded it have been built over with modern
suburban villas.

PALAIS DE VERSAILLES, near Paris (1661 - 1756 AD)

Designed and built over a long period of time the palace at Versailles is an
exquisite example of French Royal architecture. In a building over 415 meters
long the palace contains rich and regal spaces. The complex is set in hung
garden of several acres and has been maintained as an official government
retreat house.
RENAISSANCE ARCHITECTURE IN BRITAIN

The first great exponent of Renaissance architecture in England was Inigo Jones
(1573–1652), who had studied architecture in Italy where the influence of
Palladio was very strong. His works, with their clean lines, and symmetry were
revolutionary in a country still enamoured with mullion windows, crenelations and
turrets.

LITTLE MORETON HALL, Cheshire (1559 AD)

A mid 16th century AD house, romantic half - timbered structure, surrounded by a

moat. Its projecting long galley, 75 ft by 12.5 ft was superimposed in 1580 AD. It
has a ceiling of curved braces and plaster panels of emblematic devices. Its
carved corner posts, gables and “magpie” surfaces are typical of the Tudor
Midlands.
QUEEN’S HOUSE, Greenwich (1616 – 1635 AD)

The Queen's House, Greenwich, was designed and begun by architect Inigo
Jones for Anne of Denmark (the queen of King James I of England) and was
completed for Henrietta Maria, queen of King Charles I. The Queen's House is
one of the most important buildings in British architectural history, being the first
consciously classical building to have been put up in Britain. However, its style is
generally called Palladian. It has a lofty cubic two-storied entrance hall with a ring
gallery leading across a former road by bridge to a central ionic Loggia set a first-
floor level. The sills of the ground-floor windows have since been lowered and
sashed. Extra bridges were added by Webb.

SWAKELEYS, (1629-1638 AD) Indigo Jones

ROYAL HOSPITAL, Greenwich

WHITEHALL PALACE, London

The Palace of Whitehall was the main residence of the English monarchs in
London from 1530 until 1698 when all except Inigo Jones's 1622 Banqueting
House was destroyed by fire. Before the fire it had grown to be the largest palace
in Europe, with over 1,500 rooms (and was at one time the largest building in the
world).
ST. PAUL'S London (1675-1710 AD)

It was built by Sir Christopher Wren.

The first design was a Greek cross in plan, with projecting vestibule, but the
influence of, the clergy, who desired a long nave and choir suitable for ritual,
finally caused the selection of a Latin cross.

The interior has a length of 141 m including pase, a breadth including aisles of
30.8 m and an area of about 6.000 m2.

This plan consists of a great central space at the crossing suitable for vast
congregations, crowned by a Dome painted by Sir James Thornhill; a choir and
nave in three bays, north and south transepts with semicircular porticoes, and
projecting western portico of coupled columns.

The Dome and its support presented a complicated structural problem.

The Dome is carried on eight piers, and is 34 m in diameter at the base of the
high drum, and is of triple construction.

The inner dome of brick, 457 mm (18 in) thick has its eye 65.3 m above the floor,
while the intermediate conical dome, of brick 457 mm (18 in) thick, strengthened
by a double of Iron supports the stone lantern, ball and cross.

Eight openings are formed in the summit of the outer dome to admit light to the
inner dome.

The facades have two orders, the lower Corinthian and the upper composite,
totaling 33.6 m in height.

The aisles are only one storey high, so the part above them is a screen-wall
introduced to give dioity and to act as a counter weight to the flying buttresses
concealed behind it, which receive the thrust of the nave vault.

The western facade, 54 m wide, approached by a broad flight of steps which give
scale to the building, has a central two-storied portico of coupled Corinthian and
composite columns superimposed, surmounted by a pediment sculptured with
the conversion of St. Paul.

The portico is flanked by two beautifully proportioned campanile 64.7 m high

above the nave floor, that on the north containing bells and that on the south the
clock.
KEDLESTON HALL, Derbyshire (1757-1759 AD)

The design of the three-floored house is of three blocks linked by two

segmentally curved corridors. The ground floor is rusticated, while the upper
floors are of smooth dressed stone. The central, largest block contains the state
rooms and was intended for use only when there were important guests in the
house. The East block was a self-contained country house in its own right
containing all the rooms for the family's private use, and the identical West block
contained the kitchens and all other domestic rooms and staff accommodation.
Plans for two more pavilions (as the two smaller blocks are known) of identical
size, and similar appearance were not executed. Externally these latter pavilions
would have differed from their northern counterparts by large glazed Serlian
windows on the piano nobile of their southern facades. Here the blocks were to
appear as of two floors only; a mezzanine was to have been disguised in the
north of the music room block. The linking galleries here were also to contain
larger windows, than on the north, and niches containing classical statuary.

The great north front, approximately 107 m in length, is Palladian in character,

dominated by the massive, six-columned Corinthian portico. It is divided into
three distinct sets of bays, the central section is a four-columned, blind triumphal
arch (based on the Arch of Constantine in Rome) containing one large,
pedimented glass door reached from the rusticated ground floor by an external,
curved double staircase. Above the door, at second floor height, are stone
garlands and medallions in relief. The four Corinthian columns are topped by
classical statues. This whole centre section of the facade is crowned by a low
dome visible only from a distance. Flanking the central section are two identical
wings on three floors, each three windows wide, the windows of the first-floor
piano nobile being the tallest. Adam's design for this facade contains huge
"movement" and has a delicate almost fragile quality.

The neoclassical interior of the house was designed by Adam to be no less

impressive than the exterior. Entering the house through the great north portico
on the piano nobile, one is confronted by the marble hall designed to suggest the
open courtyard or atrium of a Roman villa. Twenty fluted alabaster columns with
Corinthian capitals support the heavily decorated, high-coved cornice. Niches in
the walls contain classical statuary; above the niches are grisaille panels. The
floor is of inlaid Italian marble. Matthew Paine's original designs for this room
intended for it to be lit by conventional windows at the northern end, but Adam,
warming to the Roman theme, did away with the distracting windows and lit the
whole from the roof through innovative glass skylights.

If the hall was the atrium of the villa, then the adjoining saloon was to be the
vestibulum. The saloon, contained behind the triumphal arch of the south front,
like the marble hall rises the full height of the house, 62 ft to the top of the dome,
where it too is sky-lit through a glass oculus. Designed as a sculpture gallery, this
circular room was completed in 1763. The decorative theme is based on the
temples of the Roman Forum with more modern inventions: in the four massive,
apse-like recesses are stoves disguised as pedestals for classical urns. The four
sets of double doors giving entry to the room have heavy pediments supported
by alabaster columns, and at second floor height, grisaille panels depict classical
themes.