Architecture In Spain and Portugal

(Renaissance period)
Submitted By: Calumba, Rondemer Lacdao, Marvin Madrid, John Robert Matinong, Edjey Luis Moral, Mariz Operio, Joseph Rizaldo, Irenelle Sambile, Henry Sebastian, Lauren Tiongson, Elisa Joyce

I.

Introduction

The Renaissance was a civilizing society that was aged within the period of approximately from the fourteenth to the seventeenth century, founded in Italy in the late middle Ages and afterwards distributed to the rest of Europe. The revolutionization of the Renaissance were not evenly practised across Europe even though there were availability of paper and the discovery of metal locomotive type hasted the distribution of data from the later fifteenth century. Renaissance architecture is the architecture which flourished between the early fifteenth century and early seventeenth century in different regions of Europe, it shows a conscious restoration and development of certain fundamentals of early Greek and Roman thought and material traditions. Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture. Urbanized first in Florence, by Filippo Brunelleschi as one of its innovators, the Renaissance style rapidly spread to other Italian cities. The style was carried to France, Germany, England, Russia and other parts of Europe at different dates and with varying quantity of impact. Renaissance style places importance on symmetry, proportion, geometry and the regularity of parts as they are established in the architecture of traditional antiquity and in particular ancient Roman architecture. Methodical arrangements of columns, pilasters and lintels, as well as the use of semicircular arches, and hemispherical domes, niches and aedicule changed the more difficult proportional organizations and irregular outline of medieval structures.

Principal Phases Historians frequently separate the Renaissance into three periods. Whereas art historians may talk of an "Early Renaissance" period, in which they consist of progress in fourteenth century painting and sculpture. The severe financial conditions of the late fourteenth century did not construct buildings that are considered to be part of the Renaissance. As a result, the word "Renaissance" among architectural historians usually applies to the period 1400 to ca. 1525, or later in the case of non-Italian Renaissances. Historians often use the following designations:

Renaissance (ca. 14001500); also known as the Quattrocento and sometimes Early Renaissance

High Renaissance (ca.15001525) Mannerism (ca. 15201600)

Quattrocento In the Quattrocento, ideas of architectural order were discovered and systems were creates. Space, as a part of architecture, was employed in a different way as of the way it had been in the Middle Ages. Space was planned by proportional reason, its form and rhythm subject to geometry, rather than being formed by perception as in Medieval buildings. High Renaissance Throughout the High Renaissance, conception derived from classical antiquity were developed and used with superior surety. Mannerism During the Mannerist period, architects tested with using architectural appearances to highlight solid and spatial associations. The Renaissance model of harmony gave way to freer and more creative rhythms.

II.

Spanish Architecture

SPANISH RENAISSANCE The Spanish Renaissance refers to a group in Spain, rising from the Italian Renaissance during the fourteenth century, which extended to Spain during the fifteenth and sixteenth centuries. The year 1492 is usually accepted as the start of the influence of the Renaissance in Spain. This new focus in art, literature and science, encouraged by Classical antiquity and particularly the Greco-Roman institution, accepts the transcendental desire in this year by a variety of succeeding historical events:

union of the longed-for Christian empire with the classic captivating of Granada, preceding city of Islamic Spain and the following removal of thousands of Muslim and Jewish advocates,

The authorized breakthrough of the western hemisphere, the Americas, The publication of the initial grammar of a verbal communication European language, the Gramtica (Grammar) by Antonio de Nebrija.

ARCHITECTURE OF SPANISH RENAISSANCE In Spain, Renaissance started to attach to Gothic forms in the later decades of the fifteenth century. The new style is called Plateresque, because of the extremely decorated faade,,that brought to the intellect the ornamental designs intricately detailed work of silversmiths, the Plateros. Classical orders and candelabra motifs (a candelieri) joint freely into symmetrical wholes. From the mid-sixteenth century, under such architects as Pedro Machuca, Juan Bautista de Toledo and Juan de Herrera there was a quicker devotion to the art of ancient Rome, sometimes expecting Mannerism, instances of which consist of the the fifth in Granada and the Escorial

HISTORY The beginning of the Renaissance in Spain is closely linked to the historical-political life of the monarchy of the Catholic Monarchs. Its figures are the first to leave the medieval approaches that secured a feudal scheme of weak monarch over a powerful and restless nobility. The Catholic Monarchs unite the forces of the incipient state and ally with the principal families of the nobility to maintain their power. One of these families, the Mendoza, use the new style like distinction of its clan and, by extension, of the protection of the monarchy. Little by little, the novel esthetic was introduced into the rest of the court and the clergy, mixing with purely Iberian styles, like the Nasrid art of the dying kingdom of Granada, the exalted and personal Gothic Castilian queen, and the Flemish tendencies in the official painting of the court and the Church. The assimilation of elements gave way to a personal interpretation of the orthodox Renaissance, which came to be called Plateresque. Therefore, secondary artists were brought in from Italy, apprentices were sent to the Italian shops, they brought designs, architectural plans, books and engravings, paintings, etc., of which portraits, themes and composition were copied. King Charles I was more predisposed to the new art, paradoxically called the old way, remitted to the Classical antiquity. His direct patronage achieved some of the most beautiful works of the special and unique Spanish Renaissance style: the patronage of Almazan de Covarrubias, his commissions for Titian, who never agreed to relocate to Spain. Painters of great quality were, far from the courtier nucleus, Pedro Berruguete, Juan de Juanes, Paolo da San Leocadio, of whom the delicate Virgin of the Caballero de Montesa is highlighted, Yez de la Almazan and Gerardo de los Llanos. The painting of the Spanish Renaissance is normally completed in oil. It realizes interiors perfectly subject to the laws of perspective, without over-emphasis of the people. The figures are all of the same size and anatomically correct. The colours and the shading are applied in tonal ranges, according to the Italian teachings. To accentuate the Italian style, in addition, it is common to add elements directly copied from it, like the adornments a candelieri (borders of vegetables and cupids that surround the frames), or Roman ruins in the countrysides, including in scenes of the life of Christ.

MATERIALS: The materials used in Spanish Renaissance period are the traditional wood, bricks and plaster. STYLE: Principal styles are Plateresque style and High Renaissance Italian fashion was limited to decorative aspects, with elements such as grotesques, candelieri or garlands. some pieces were imported as is the case of chimneys, columns capitals and shafts, altars, sepulchres. the outside walls are padded columns are abalustraded, with Corinthian or composite capitals and a base full of leaves; pilasters are covered with grotesque decoration; semicircular arches are used but segmentalis more common arches sides and in freezes medallions are used; the covers continue being crossing vaults with medallions but barrel vaults with lacunaria (caseton) also appear; buildings are frequently ended with crests; in general the proportions are not classical. clean forms and little decoration, simple shapes symmetry made a big come-back.

III.

Portuguese Architecture The implementation of the Renaissance style in Portugal was slowly and closely

related to the Gothic architecture. The Manueline style (1490-1535) was a halfway style that joined Renaissance and Gothic decorative fundamentals to buildings that were architectonically nearer to Gothic architecture. Manueline was succeeded by a short Early Renaissance stage ( 1530-1550), nearer to Classical standards, go after by the acceptance of Mannerist (late Renaissance) type. Portuguese Mannerism, especially in secular architecture, is categorized by simplicity in the organisation of faades and relative lack of adornment, being often referred to as Estilo Cho (plain style). Even with the appearance of Baroque architecture in the late seventeenth century, Portuguese architecture sustained to use Mannerist forms well into the eighteenth century. INFLUENCES King Manuel I of Portugal Manuel I; King of Portugal and the Algarves was the son of Infante Ferdinand, Duke of Viseu, (14331470), by his wife, Infanta Beatrice of Portugal. His name is linked with an era of Portuguese society famous by important achievements both in political dealings and the arts. In spite of its small size and population in association to the immense land powers of Europe, he was able to obtain an abroad empire of huge proportions during Manuel's reign.
King Manuel 1 Source: http://en.wikipedia.org/wiki/File: Manuel_I.jpg

King John III of Portugal John III was the King of Portugal and the Algarves (13 December 1521 -- 11 June 1557), the second ruler of the new House of Aviz-Beja. He was the son of King Manuel I and Maria of Aragon. John succeeded his father in 1521, at the age of nineteen. During his statute, Portuguese properties were extended in Asia and in the New World through the Portuguese colonization of Brazil. During his time in power, the Portuguese became the first Europeans to create contact with both China, under the Ming Dynasty,
King John III Soutce: http://en.wikipedia.org/wiki/File:Jo ao_iii_REI.jpg

and Japan, during the Muromachi period. He vacated Muslim areas in North Africa in support of trade with India and assets in Brazil. In

Europe, he improved relations with the Baltic region and the Rhineland, hoping that this would strengthen Portuguese trade.

STRUCTURES
Ducal Palace of Vila Vicosa
Located in the urban context of Vila Viosa, the palace is situated on a stable plain at the foot of the castle hill. Rising 395 metres above this context, on a grand space. The building consists of a grand rectangular profile, extending east to west, with three floors, and an irregular trapezoid structure to the north-south, with the roofing differently tiled above each of the spaces. The principal facade is fully lined with ashlars masonry and pink Estremoz marble, corresponding to the three respective floors and central pediment broken by two main doorways. The rest of the facades are broken by a series of rectangular windows that harmoniously divide the surface in a rhythmic classic pattern, some with semi-circular pediments and framed cornices. Pilasters and architraves define the horizontal and vertical frames of many of the windows, giving the whole composition great sobriety and classicism
The Ducal Palace of Vila Viosa (Portuguese: Pao Ducal de Vila Viosa) is a palace located in the civil parish of Nossa Senhora da Conceio. Source: http://en.wikipedia.org/wiki/File:Pa%C3%A7o_dos_Duques_d e_Bragan%C3%A7a_em_Vila_Vi%C3%A7osa.jpg

Jeronimos Monastery
King Manuel I built it in 1502 on the site of a hermitage founded by Prince Henry the Navigator] In terms of architecture, the monastery is a triumph of Gothic Europe, many design details are very
The Hieronymites Monastery is located near the shore of the parish of Belm, in the municipality of Lisbon,Portugal. Source: http://www.bestourism.com/medias/dfp/3479

elaborate and detailed mouldings for various reasons. Architecture used to build the monastery became known as Manueline style, a style of art that served to glorify the great discoveries of the age. Clausters are impressive, each column is carved differently sea monsters, coral and marine otherwise very suggestive. Are impressive and murals depicting the biblical story of Joseph. The interior is spacious and decorated with relief carvings. Outside there is a beautiful garden founded in 1940, which can be seen various coats of arms of some regions of Portugal. In the center of this garden there is a fountain and decorated with flags and lit it on special occasions.

Viseu Cathedral
Viseu Cathedral is a Latin cross church with a three-aisled nave, transept and three Eastern chapels. The main faade is flanked by two towers. The outer, lateral walls of the church have a heavy, menacing appearance, typical of Portuguese mediaeval cathedrals, being partially decorated with merlons.
Viseu Cathedral is the bishopric seat of the city of Viseu, in Portugal. The church started being built in the 12th century and is the most important historical monument of the town. It is currently a mix of architectural styles, specially from the Manueline, Renaissance and Mannerist periods. Source: http://www.flickr.com/photos/rolf_schwarz/837849270/lightbox

In the interior, all aisles are of approximately equal height, resembling a hall church. The stone rib vaulting is supported by massive pillars and was built between 1505 and 1513, being an outstanding example ofManueline architecture. Some ribs of the roof are shaped like twisted ropes and knots, typical Manueline decorative motifs. The main chapel was rebuilt in Mannerist style and features a gilt-woodwork Baroque-Rococo altarpiece designed by famed sculptor Santos Pacheco, who was also responsible for the main altarpiece of Oporto Cathedral. The altarpiece incorporates a Holy Mary statue from the 14th century and was carved between 1729 and 1733 by Francisco Machado.

Chapel of Nossa Senhora da Conceicao

The Chapel of Nossa Senhora da Conceio. Originally the building was intended to be the kings funerary chapel, however when King Joo III died, in 1557, he was in the end buried in Lisbon, due to unfolding political events. However, it remains a tribute to Tomars past strategic and cultural importance. The chapel consists of three naves with a slight transept and a narrow chancel. The transept is covered by a vaulted ceiling and central tower, while the chancel is encircled by a square roof rising to a small arched bell tower that is accessible via a domed staircase.
Nossa Senhora da Conceicao. Source: http://members.virtualtourist.com/m/p/m/134a2f/

Sources

http://en.wikipedia.org/wiki/Renaissance http://en.wikipedia.org/wiki/Renaissance_architecture_in_Portugal http://en.wikipedia.org/wiki/Spanish_Renaissance http://en.wikipedia.org/wiki/Spanish_Renaissance_architecture http://en.wikipedia.org/wiki/Manuel_I_of_Portugal http://en.wikipedia.org/wiki/John_III_of_Portugal http://en.wikipedia.org/wiki/Ducal_Palace_of_Vila_Vi%C3%A7osa http://www.bestourism.com/items/di/912?title=Jeronimo-Monastery&b=150 http://www.flickr.com/photos/rolf_schwarz/837849270/ http://members.virtualtourist.com/m/p/m/134a2f/