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Spaniards
Architect:
Donato Bramante
Doric Columns
Additional infos:
Tiempetto Italian term for small temple
the church of San Pietro in Montorio sits overlooking the eastern slope of
Gianicolo hill. Built in the 15th century, the gorgeous church holds
copious amounts of renaissance art including frescoes from Italian
masters
Additional infos:
The original draft included a circular patio that was not done.
For function:
In being centrally planned and not having projecting features that designate a front facing, the
Tempietto is one of the most perfect embodiments of centralized designbuilt in the Renaissance.
PARTS OF TEMPIETTO:
The Monastery of San Pietro in Montorio, a Spanish monastery of the
Franciscan Order, was later built around the site.
The Tempietto's main parts are based on regular
geometric solids.
Additioanal infos
The two cylinders formed by the building's main parts are related to each other
mathematically. The width of the wider cylinder forming the peristyle is equal to
the height of the narrower cylinder forming the cella.
The gray-granite shafts, which stood out in contrast to the lighter marble
forming the building, had originally been part of an ancient Roman building. The
marble capitals and bases were carved in the Renaissance.
Wall Articulation
Sixteen pilasters on the same radii as the sixteen columns articulate the
cella wall on each story. This arrangement of pilasters is not directly reflected on
the interior, where eight pilasters stand between large and small niches.
Cornice:
The metopes and cornice external triglyphs is repeated in the cornice and the
internal wall of the body, reducing the steps in just keeping the plant and the
standard. The metopes external decoration which alludes to the martyrdom of Saint
Peter, is available from the main building.
The metopes depict papal symbols and items used in prayers.
Additional infos:
this small church seated only ten worshipers. It is the earliest of the great
achievements that made Rome the new center of Italian art during the first quarter
of the 16th century.
Niches:
The diagonal quadrants of both the building and the courtyard were to have
been composed of apsidal niches flanking openings, which took the form of
windows.
Because the eight pilasters, half a many as on the exterior, are placed
between large and small niches, their spacing is in pairs and does not correspond to
that of the sixteen pilasters of the exterior.
Interior of the Dome:
Inside the dome, the illusion of seeing a sky beyond the dome's ribs is
suggested by the painting of gold stars against a blue sky. In the Renaissance, such
images were understood as references to the Christian Heaven.
Crypt:
On the back side just beyond the colonnade, a pair of stairs leads down to
the crypt. The position corresponding to the ground-story entrance is occupied by
an altar. A circular window through the ceiling of the crypt enables visitors on the
ground storey to see the sacred spot below through the floor.
Additional infos:
The large niche opposite the entrancecontains a statue of St. Peter holding the keys
to the kingdom in one hand and the gospel in the other. On the pedestal below at
around eye level is a relief of St. Peter's crucifixion,which was carried out in an
upside-down position.
The space is evenly illuminated by placing the windows on multiple levels and
facings.