ITALY, GARDNER CHAPTER 22-3 PP

ARCHITECTURE: ROME  The Sistine Chapel was a small part of the vast VATICAN complex on the west side of the Tiber  Construction on the Vatican began under Constantine -> Old Saint Peter’s  The 1000 year old basilica was insufficient for the needs and aspirations of the Renaissance papacy  Rebuilding of the 4 th century church will go on for over a century

BRAMANTE  The first in the line of distinguished architects of the new Saint Peter’s was BRAMANTE  Trained as a painter -> later turns to architecture  Influenced by Brunelleschi and Alberti -> Bramante developed the High Renaissance form of the central plan church

TEMPIETTO  Donato Bramante’s career began in Milan, but it was in Rome that he achieved his greatest accomplishments during the high Renaissance  One of Bramante's earliest commissions, the "Tempietto" is one of the most harmonious buildings of the Renaissance. It is meant to mark the traditional spot of St. Peter's martyrdom

BRAMANTE’S “LITTLE TEMPLE”  DONATO D’ANGELO BRAMANTE, Tempietto, San Pietro in Montorio, Rome, Italy, 1502(?)  The Tempietto is almost a piece of sculpture, for it has little architectonic use. The building absorbed much of Brunelleschi's style. Perfectly proportioned, it is composed of slender Tuscan columns, a Doric entablature modeled after the ancient Theater of Marcellus, and a dome.

NEW SAINT PETERS  Bramante's vision for St Peter's, a centralized Greek cross plan that symbolized sublime perfection for him and his generation, was fundamentally altered by the extension of the nave after his death in Bramante's plan envisaged four great chapels filling the corner spaces between the equal transepts, each one capped with a smaller dome surrounding the great dome over the crossing

BRAMANTE – PLAN FOR THE NEW SAINT PETER’S  DONATO D’ANGELO BRAMANTE, plan for the new Saint Peter’s, the Vatican, Rome, Italy, 1505  Bramante’s design for the new church to replace the Constantinian basilica of Saint Peter’s -> central plan consisting of a cross w/arms of equal length, each terminating in an apse

CHRISTOFORO FOPPA CARADOSSO, medal showing Bramante’s design for the new Saint Peter’s, 1506

PALAZZO FARNESE  Antonio da Sangallo, FARNESE PALACE, c , Rome  High Renaissance palace  Palazzo Farnese in Rome High Renaissance palace whose building history involved some of the most prominent Italian architects of the 16th century  Heavily rusticated entrance -> each story has different window frames  Heavy cornice crowns the work  Built for Cardinal Alessandro Farnese -> later elected Pope Paul III

ANTONIO DA SANGALLO THE YOUNGER, courtyard of the Palazzo Farnese, Rome, Italy, ca. 1530–1546. Third story and attic by MICHELANGELO BUONARROTI, 1548.

ARCHITECTURE: VENICE  Despite challenges, Venice developed a flourishing, independent, and influential school of artists  Venice had long been a major coastal port and gateway to the Orient  Reaches the height of its commercial and political power in the 15 th century  Declines in the 16 th century -> discoveries of the New World and the rise of Atlantic economies  Threats from the Ottoman Empire and from Pope Julius II

ANDREA PALLADIO  Palladio is often considered the most influential person in the history of western architecture. His architectural works have "been valued for centuries as the quintessence of High Renaissance calm and harmony" (Watkin, D., A History of Western Architecture). Palladio designed many churches, villas, and palaces, especially in Venice. His villas found resonance as a prototype for Italian villas and later for the country estates of the English nobility

VILLA ROTONDA  ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566–1570  Four identical facades -> each one resembling a Roman temple with a columnar porch  In the center is a great dome covered rotunda modeled on the Pantheon

SAN GIORGIO MAGGIORE

PALLADIO – SAN GIORGIO MAGGIORE  ANDREA PALLADIO, west facade of San Giorgio Maggiore, Venice, Italy, begun 1565  Andrea Palladio's design for the façade of San Giorgio Maggiore in Venice integrates the high central nave and lower aisles into a unified façade design by superimposing a tall, narrow classical porch on a low broad one

 ANDREA PALLADIO, interior of San Giorgio Maggiore (view facing east), Venice, Italy, begun 1565