RENAISSANCE ARCHITECTURE IN ITALY (15TH-19TH
balustrades
CENTURY)
INFLUENCES:
A. GEOGRAPHICAL
The Renaissance in Italy is best considered
geographically under the three great distinctive cities of its
activity: FLORENCE, ROME & VENICE.
1. FLORENCE – Being centrally located was one of the
chief powers of Italy. The Florentines not only exerted
considerable influences over the whole Tuscany but
carried out Renaissance Architecture much farther
afield.
Under Florence are Genoa and Milan (a
powerful state and in which Florentine Architects were
the first to build in Renaissance style).
2. ROME – This distressed Medieval City began to recover
its prestige and unique influence while the
Renaissance was taking root in Florence. The Ruins of
Ancient Rome supplied the models for new buildings
in which in turn became models for all Europe.
3. VENICE – By 1500 territories of Venice extended
westward almost to MILAN, thus embracing Padua,
Vicenza, Verona, Brescia, Bergamo and other cities
along the valley of the River Po.
B. GEOLOGICAL
1. FLORENCE – The quarters of Tuscany yielded ample
fine stone, obtainable, when needed in large blocks.
Example of building materials were:
White and Yellow marble – Siena
Luna Marble (white marble) – Carrara
Pietra Serena (a blue grey stone of fine quality
much employed in Early Renaissance buildings)
and
Pietra Forte (brown stone suitable for outside
walls – from Fiesole
2. ROME – Good Building Stone of many varieties was
available within ready reach of the city.
Travertine – from Tivoli
Brick – from Northerly Papal States
Renaissance builders often found the decaying
pagan buildings a much more handy source, as
well as for coloured marble which the Romans
brought a great pairs from various parts of the
Empire.
3. VENICE – The site of the city was devoid of suitable
materials but brick earth were accessible on the
nearby mainland, and by water carriages, stones,
timber and marble could be obtained according to
need.
Cream – coloured stone from Istria.
Red and orange colored marble – from Verona.
C. CLIMATIC
1. FLORENCE
 Bright and Sunny Climate
 Large windows are not only unnecessary but also
unsuitable
 The open cortile (court) was normal to palaces
 The colonnade or arcades from ancient times were still
employed.
 Low-pitched roofs gave way to cornice and parapets or
2. ROME
 The narrow streets of Italian towns gave protection
against the blaze of the summer sun and the winter
cold.
 The cramped, bustling streets led to the living on
upper floors of palaces (PIANO NOBILE) while the
ground floor was devoted to general service
purposes.
3. VENICE
 The extreme heat of summer was tempered by sea
breezes which led to belvederes and balconies.
 The winds that swept down from the snow topped
mountains made fireplaces and funnel topped
chimneys a distinctive Venetian feature.
D. HISTORICAL, SOCIAL AND RELIGIOUS
Important inventions during the period were:
gunpowder, the mariner’s compass (which led to the
discovery of the Cape of Good Hope by Diaz and of
America by Christopher Columbus) and printing.
1. FLORENCE
 The rediscovery of Classical Architecture provided a
wave of enthusiasm throughout Italy for Old Roman
Architecture. This new movement began in Florence
about 1420, it was stimulated by the MEDICI FAMILY,
founded in 1424 by GIOVANNI DE MEDICI.
 The records of Florence indicate a city of vital,
pulsating energy, its streets a bustle of purposeful
activity. The earliest architects to work in Renaissance
style in both Rome and Milan were Florentines.
2. ROME
 Julius II intended on erecting a monumental tomb for
himself which developed into the gigantic scheme for
the rebuilding of the St. Peter’s as the greatest
cathedral in CHRISTENDOM.
 The social structure in Rome was substantially different
from that of FLORENCE. Rome had no commercial
importance.
ARCHITECTURAL CHARACTER
The three main periods of Renaissance in Italy are:
o High Renaissance (15th century)
o High Renaissance and Proto-Baroque (16th century)
o Baroque (17th & early 18th century)
From 1750-1830, The Renaissance follows an
Antiquarian trend.
The salient characteristics of Renaissance Architecture
were the employment of the classic orders which were re-
introduced after nearly a thousand years.
These were standardized by Renaissance architects, such
as Palladio, Vignola, and Scamozzi an used both rationally and
decoratively.
1. FLORENCE
 Early Renaissance churches are conspicuous for
refinement, in strong contrast to the rugged, fortress-
like character of the palaces.
 The architectural character owes much of its interest to
the contributions of sculptors and painters such as
LUCCA DELLA ROBBIA, LORENZO GHIBERTI,
DONATELLO.
  MICHAELANGELO led the Proto-Baroque break away
from academic formalism in design with his new
sacristy of St. Lorenzo and the Laurentian Library.
 Renaissance villas developed towards formal garden
compartments centered on a summer dwelling or
CASINO.
2. ROME
 Early Renaissance in Rome was comparatively
unimportant.
 BRAMANTE was the chief figure of the High
Renaissance of which is TEMPIETTO at ST.PIETRO in
MONTORIO is a notable example.
 Churches adapted the Byzantine type centralized plan.
 The Baroque period greatly flourished in Rome. CARLO
MADERNA was its first successful exponent and
BERNINI its most brilliant and versatile figure.
 Palaces maintained their cliff-like character and
generally were ASTYLAR.
 Church plans were either centralized and compact
building up to a circular or elliptical dome.
3. VENICE
 The architecture of Venice is in general, lighter and
more graceful than that of Florence.
 A notable Venetian feature is the central grouping of
windows.
 Orders are used freely on exteriors at most times, and
are usually confined to the main storeys of palaces,
these being crowned by entablatures containing
friezes.
 Balconies are graceful and important features.
 Palace plans were compact due to cramped sites.
 Denoted by the use of large and small orders together
and coupled columns. (limited roadways).
RENAISSANCE ARCHITECTS AND THEIR CONTRIBUTIONS:
1. FLORENCE
A. EARLY RENAISSANCE
 Filippo Brunelleschi- The Founding Hospital,
Florence
 Michelozzo Michellozi – Palazzo Ricardi, Florence
 Leon Batista Alberti – A student of classical
architecture and his book, DE RE AEDIFICATORIA-
helped the revival of the Old Roman Style. Among
his many contributions is the PALAZZO RUCELLAI,
FLORENCE.
 BERNARDO ROSSELINO – A Florentine Architect
and sculptor, creator of the Bruni tomb. Architect
of the PALAZZO DICCOLOMINI, PIENZA.
 IL CRONACA- properly SIMONE POLLAIVOLO, had
studied ancient architecture in Rome. Architect of
the Palazzo Strozzi.
 Antonio Filarete – Famous Florentine Sculptor and
architect best known for his work in Milan, where
he was among the first to introduce the
Renaissance Style. Architect of a municipal
hospital, OPPEDALE, MAGGIORE.
 GIOVANNI AMADEO – Lombard Sculptor and
architect, a notable figure in the early Lombard
Renaissance. Architect of the Certosa di Pavia.
B. HIGH RENAISSANCE & PROTO-BAROQUE
 BARTOLOMEO AMMANATI – Colegio Romano, Rome
 GALEAZZO ALESSI – Palazzo Marino, Milan
 ROCCO LURAGO – Palazzo Municipo, Genoa
C. BAROQUE
 BARTOLOMEO BIANCO – Porta Pila, Genoa
 GIOVANNI BATTISTA ALEOTTI – Teatro Farnese,
Parma
 FRANCESCO RICCINI – St. Giuseppe, Milan
 GUARINO GUARINI – St. Sindone Chapel (Chapel of
the Holy Shroud), Turin
 FILIPPO JUVARRA – Superga, Turin
2. ROME
A. EARLY RENAISSANCE
 LUCIANO LAURAN – Ducal Palace, Urbino
 DONATO BRAMANTE – Rome’s first outstanding
architect of the Renaissance. He made the first
designs for the New St. Peter’s at Rome and
inaugurated the building of the Vatican.
B. HIGH RENAISSANCE & PROTO-BAROQUE
 BALDASSARE PERUZI – Palazzo Pietro Massimi,
Rome
 ANTONIO DA SANGALLO – Palazzo Farnese, Rome
 RAPHAEL SANTI – One of the world’s greatest
painters and an architect of distinction.
 GIULIO ROMANO – Palazzo del te’ Mantua
 GIACOMO BAROZZI DA VIGNOLA – Author of the
‘Five Orders’ of Architecture. Best known work is
the Villa of Pope Julius III.
 PIRRO LIGORIO – Villa D’ Este, Tivoli
 MICHELANGELO – The long lived and world –
famous Florentine sculptor and the painter of the
vaulted ceiling of the Sistine Chapel, distinguished
in his later years as an architect. Most successful
civil work and a fine town planning achievement
is the CAPITOL, ROME.
 ST. PETER’S ROME – Most important building of
this period, was the outcome of the work of many
architect’s under the direction of many popes
during a period of 120 years.
 THE 12 ARCHITECTS OF ST. PETER’S ROME
1. BRAMANTE – planned a Greek cross and
proposed dome founded on that of the
Pantheon.
2. GUILIANO DA SANGALLO
3. FRA GIOCONDO
4. RAPHAEL – proposed a plan in the shape of a
Latin cross.
5. BALDASSARE PERUZI – reverted to the Greek
cross plan, adapted the design of Bramante.
6. ANTONIO DA SANGALLO – planned the
extended vestibule, lofty campanile and
elaborated central dome.
7. MICHELANGELO – Greek cross plan,
redesigned the surrounding chapels.
8. GIACOMO DELLA PORTA – altered domes
9. DOMENICO FONTANA – altered domes
10. GIACOMO BAROZZI DA VIGNOLA – added side
cupolas
11. CARLO MADERNA – lengthened the nave to
form a Latin cross.
12. BERNINI –erected the Noble entrance piazza
198 mts. wide surrounded by 284 columns
 DOMENICO FONTANA – Palazzo del Laterano,
Rome
C. BAROQUE
  CARLO MADERNA – chief figure of the Early RENAISSANCE ARCHITECTURE IN FRANCE
Baroque in Rome. Greatest work was the St.
Sussana, Rome.
GEOGRAPHICAL INFLUENCE:
 FLAMINIO PONZIO – St. Sebastiano Fuori Le Mura,
 France (since the Romanesque and Gothic periods) has
Rome
become one United Kingdom with Paris as the center.
 GIOVANNI LORENZE BERNINI – represents Roman
 There was homogenous development with extended
Baroque at its peak. Much of Bernini’s finest
boundaries – in contrast to the variety displayed in the
architectural and sculpturesque work was done for
independent city states of Italy.
St. Peter’s.
 The distance of Paris to Italy delayed the Renaissance
 FRANCESCO BORROMINI – St. Carlo Alle Quattro
adoption in France.
Fontane, Rome
 PIETRO DA CORTONA – St. Maria Delia Pace, Rome
GEOLOGICAL INFLUENCE:
 CARLO RAINALDI – reconstruction of the east end
 Good building stone was available throughout France.
of the old basilica of St. Maria Maggiore, Rome.
 Paris- city of Stone
 CARLO DOTTI – Madonna Di St. Luca
 London – city of Brick
 ALESSANDRO SPECCHI – Scala Di Spagna, Rome
 Iron (wrought and cast) came into use shortly after
(Spanish Steps)
1780.
 ALESSANDRO GALILEI – carried out the principal
façade of the St. Giocanni in Laterano, Rome
CLIMATIC INFLUENCE:
 NICOLA SALVI – Fonta Di Trevi, Rome
 South – sub-tropical
 FERDINANDO FUGA – St. Maria Maggiore, Rome.
 North – experiences snow
He was the last notable Baroque architect of
 The result was the employment of large windows,
Rome.
high-pitched roofs and lofty chimneys.
3. VENICE
HISTORICAL, SOCIAL, & RELIGIOUS INFLUENCE:
A. EARLY RENAISSANCE
 16th century – Italy became the battlefield of Europe
 PIETRO LOMBARDO – Doge’s Palace, Venice
and Florence became the ally of France. In these wars,
B. HIGH RENAISSANCE & PROTO-BAROQUE
the French kings were brought in contact with Italy
 MICHELE SAN MICHELE – Palazzo Grimani, Venice
where thus drawn into the Renaissance movement.
 JACOPO SANSOVINO – Library of St. Mark, Venice
 PARIS (Capital of New Kingdom of France) – attained
 ANDREA PALLADIO – The most influential architect
pre-eminence in art and literature. This resulted in the
of the whole Renaissance. He authored the famous
adoption of one national architectural style which was
book I QUATTRO LIBRI DELL ‘ARCHITETTURA’. He
further augmented by the presence of a number of
conceptualized and initiated puristic, classical
Italian artist:
architecture.
o GILILLIANO DA SANGALLO
o FRA GIOCONDO
C. BAROQUE
o DOMINICO DA CORTONA (BOCCADORO)
 BALDASSARE LONGHENA – Most distinguished
o LEONARDO DA VINCI
Venetian Architect of the period. Designed the St.
Maria Della Salute, Venice. o GIOVANI BATISTA DI GIOCOPO
 FLORENCE – where Renaissance Architecture o FRANCESCO PRIMATICCIO
originated. o G.B. VIGNOLA
 FLORENTINES – not only exerted considerable o SEBASTIANO SERLIO
influences over the whole of Tuscany but carried  JESUIT ORDER – the chief influence on ecclesiastical
Renaissance architecture. architecture in France during the later Renaissance
 FLORENTINE ARCHITECTS – where the first to build period; built great churches designed for preaching to
in Renaissance style; TURIN comes into the picture large congregation.
in later times.
 POPES & CARDINALS – were reviving its glories in ARCHITECTURAL CHARACTER:
Florence Architecture  The Renaissance style in France started around
 RUINS OF ANCIENT ROME – supplied models for 75years.
new buildings and in 16th century became models  Three (3) Periods in Renaissance France: Early Period
for all Europe. ROME: They were in fact in the (Period of Transition),
hands of despots, who created their own The Classical Period, Late Period
individual artistic environments. 1. EARLY PERIOD (PERIOD OF TRANSITION)
 VENICE: showed greatness- oriental commerce o Combination of Gothic and Renaissance feature.
(prosperity); extended westward – almost to
MILAN, Padua, Vicenza, Verona, Brescia, Bergamo,
Valley River Po; across Adriatic Sea, retained
Dalmatia; enlarged holding – Istria.
 The history of Venetian state influence
impregnable location: protected a belt of islands,
Venetian Lagoon; sea power secured islands,
2. THE CLASSICAL PERIOD
maritime trade at the east.
o This period is notable for the dignity, sobriety, and
 When geographical discoveries opened up new
masculine quality of its for- emost buildings.
routes, she gradually sank into decline.
o Ornament is vigorous and reasonably restrained.
 o QUOINS – dressed stones at the corner of the
buildings; usually laid so that their faces are alternately
large and small.
o CHAINES – vertical strips of rusticated masonry rising
between the horizontal string mouldings and cornice
of a building, and so dividing the facades into bays or
panels.
o Much play with rustication
o Employment of the mansard roof
o Use of fanciful scrolls, nymphs, wreath and shell,
carried out in stucco and papiermache.
o SCROLLS – a moulding typical in Gothic Architecture
o STUCCO – plasterwork.
o PRINCIPAL ARCHITECTS OF THE PERIOD:
- SALOMON DE BROSSE – Palais du Luxemborg
- ANDRE LE NOTRE – outstanding garden Architect
- CHARLES LEBRUN – a painter who practiced and
influenced all the visual arts.
- JULES H HARDOUIN MANSART – master designer/
interpreter of Louis XIV’s architectural ambitions.
3. LATE PERIOD
o DOMESTIC PLANNING (residence and town hotels)
o ROCOCO (France: Rocaille)
- a style of decorative art that evolved from the
baroque, originating in France and distinguished by
fanciful curved and spatial forms and elaborate,
profuse designs or shell work and foliage intended
for a delicate overall effect.
o PURISTIC REACTION – restoration of ancient remains.
o PRINCIPAL ARCHITECTS OF THE PERIOD:
- JACQUES GERMAN SOUFFLOT – Pantheon, Paris
- JACQUES DENIS ANTOINE – Hotel Monnaies, Paris
o SECULAR ARCHITECTURE:
1. CHATEAU DE BLOIS – Francois Mansart
2. CHATEAU DE BURY
3. CHATEAU DE CHAMBORD – Domenico da Cortona
- Donjon – the innermost and strongest
structure of tower of a medieval castle.
- Lantern – a small circular or polygonal (prison
or cell) turret with windows all around,
crowning a roof or dome.
- Dungeon – a dark, often underground prison,
or cell in a medieval castle.
4. PALAIS DE FONTAINEBLEAU (Gilles le Breton)
5. PALAIS DE LOUVRE, PARIS (Pierre Lescot) – one of
the most imposing palaces in Europe.
6. PALAIS DE VERSAILLES (Le Vau) – royal residence
7. PETIT TRIANON, VERSAILLES (J.A. Gabriel) – one of
the most superb pieces of domestic architecture of
the century.
o ECCLESIASTICAL ARCHITECTURE:
1. St. Etienne du Mont, Paris
2. St. Eustache, Paris (Domenico da Cortana)
3. The Pantheon, Paris (Soufflot)
RENAISSANCE ARCHITECTURE IN GERMANY AND
CENTRAL EUROPE
GEOGRAPHICAL INFLUENCE:
 ITALY – from South
 FRANCE - to the West
 Distance from the center of the movement deferred its
arrival until some 125 years after in Italy.
 The Different Geographical Conditions reflected
differences in architecture.
GEOLOGICAL INFLUENCE:
 Timber, Brick, Stone, Moulded and Ornamental
Brickwork
 TYPES OF BRICKWORK:
1. ENGLISH BOND – method of laying bricks so that
alternate courses or layers on the face of the wall
are composed of headers and stretchers only.
o HEADER – a brick laid so that the end only
appears on the face of the wall.
o STRETCHER – a brick laid so that the side only
appears on the face of the wall.
2. FLEMISH BOND – a method of laying bricks so that
alternate headers and stretchers appear in each
course on the face of the wall.
3. STACK BOND
4. RUNNING OR STRETCHER BOND
CLIMATIC INFLUENCE:
 The classic forms were modified to suit the northern
temperature.
 Windows – large; Roof – steep; Chimneys – for heating
the interiors.
HISTORICAL, SOCIAL & RELIGIOUS INFLUENCE:
 The climax on the German Renaissance is marked by
the succession of Charles V to the possessions of the
House of Castle, Aragon and Burgundy including the
low countries.
 CATHOLICS vs. PROTESTANTS – was brought to an end
by the Peace of Augsburg.
 Each state could set up the Religion that they pleased
and exile individuals who were of different religion.
 THIRTY YEARS WAR (1618-1648) the war impoverished
Germany, depleted its population and left France as
the leading nation in Europe.
 The result was the Retardation of Building Activity
which arrested the development of architecture.
 The principal renaissance factor was the influence of
the universities (Heidelberg) – the chief seat of the
Humanist movement.
 MARTIN LUTHER – dominating figure of the
reformation in Germany who was then in stress and
turmoil.
 PREACHING – brought about an increase in the space
for the seated congregations which led to the
introduction of galleries (an upper storey for seats in a
church).
ARCHITECTURAL CHARACTER:
 The Renaissance style appeared in Germany at about
1950. The periods of Renaissance development were:
1. EARLY RENAISSANCE – introduction of
Renaissance elements into Gothic building.
2. PROTO-BAROQUE – Italian architects
themselves carried the renaissance from North
Italy to Switzerland, Austria and Germany
while native architects began to successfully
emulate and produce native versions of style.
3. BAROQUE – architects of Native Origin studied
in Rome or elsewhere in Italy and brought
Germany architecture to splendid culmination.
4. ROCOCO – extension of Baroque period
wherein architecture and decoration show
great refinement and technical mastery by less
vigor and force.
5. ANTIQUARIAN – there is a progress to ancient
classical models.
 There was HIGH PROFUSION OF ORNAMENTATION in
Church Interiors.
 Ornamentation was DELIBERATE& PURPOSEFUL for
ecclesiastical architecture, while for secular, it was
relatively plain except for mansions and country
residence.
 NOTABLE BAROQUE ARCHITECTS:
o JOHANN BERNHARD FISCHER VON ERLACH –
also a sculptor and a writer.
o JAKOB PRANDTAUER – monastery at Melk,
considered as an architectural masterpiece.
o THUMB FAMILY – Christian, Michael and Peter
o ASAM BROTHERS –Cosmas, Damian and
Egidquirin
o LUKAS VON HILDEBRANDT
 SECULAR ARCHITECTURE
1. HEIDELBERG CASTLE
PILASTER – a rectangular feature in the shape
of a pillar, projecting only about 1/6 of its
breadth from a wall.
HALF-COLUMN – an engaged column
projecting approximately one half of its
diameter.
NICHE – a recess in a wall, hollowed like a
shell, for a statue or an ornament.
2. THE BELVEDERE, VIENNA
- a summer residence designed by Hildebrandt.
3. BRANDENBURG GATE, BERLIN
-by G.G. Langhaus, is in a Greek Revival Style
and imitates the PROPYLAEA found in Athens.
4. WALDSTEIN PALACE, PRAGUE – Bartolome Bianco
FENESTRATION – the arrangement and design of
windows.
5. TROJA PALACE, PRAGUE – J.B. Mathey
INTERCOLUMNIATION – the space between the
columns
 ECCLESIASTICAL ARCHITECTURE:
1. THEATINE CHURCH, MUNICH – by A. Barelli and H.
Zucalli, an instance of the developed Baroque
style, based upon the church of the St. Andrea
della Valle in Rome.
HELM – bulbous termination to the top of a
tower, found principally in central and Eastern
Europe.
2. ST. PAULIN, TRIER – by Balthasar Neumann
3. THE WIESKIRCHE – the most celebrated Rococo
church.
CHANCEL – the space for the clergy and the
choir, separated by a screen from the body of
the church, or more usually referred to as the
choir.