A new direction in Italian architecture, at its inception, was associated with the processing of ancient traditions and the order system in relation to local building materials and structures. In the buildings of this time, the plane of the wall, its materiality, is again emphasized; the internal space, which acquires unity, is clearly limited. The proportionality of the proportions of the supporting and pressing parts is also achieved, in the rhythmic articulation of the building, the balance of horizontals and verticals is established.
Brunelleschi. The ancestor of Renaissance architecture was Filippo Brunelleschi (1377–1446), a native of Florence. After an apprenticeship in a jewelry workshop, Brunelleschi began his creative career as a sculptor, taking part in a competition to create a relief for the bronze doors of the Florentine baptistery (baptistery). A multi-talented person who combined an interest in art with the knowledge of an engineer, the mind of an inventor, a mathematician, he soon devoted himself entirely to architecture. His first major work was a grandiose octagonal dome (1420-1436) erected over the 14th century Cathedral of Santa Maria del Fiore. The elongated dome with a diameter at the base of 42 m covers the altar part of the massive basilica. Its powerful, clear silhouette still reigns over the city, being perfectly perceived from a long distance. Using new structures, a frame system, Brunelleschi managed to do without scaffolding, constructing a hollow dome with two shells. He thus lightened the weight of the vault and reduced the thrust force acting on the walls of the octagonal drum. For the first time in Western European architecture, Brunelleschi gave a pronounced plastic volume of the dome, rising to the heavens and overshadowing, in the words of the architect Alberti, "all the Tuscan peoples." The enlarged scales of the forms of the dome, its powerful masses, articulated by strong ribs, are emphasized by the grace and fine workmanship of the decor of the lantern that completes it. In this building, erected to the glory of the city, the triumph of reason was embodied, an idea that determined the main direction of the Renaissance culture.
If during the construction of the dome Brunelleschi had to take into account the nature of the previously built parts of the cathedral, then he gave a completely new understanding of the architectural image in the Educational House (Ospedale degli Innocenti) in Florence (1419–1444) on Annunziata Square - the first civil building of the Renaissance that meets progressive ideas time. The two-storey facade of the house is distinguished by its simplicity and lightness of proportions, the clarity of horizontal and vertical articulations. On the lower floor, it is decorated with an elegant loggia, the semicircular arches of which rest on slender columns. They emphasize the friendly, hospitable character of the building. Between the arches there are round ceramic medallions by Andrea della Robbia depicting swaddled babies. With their cheerfulness and clarity, the gentle charm of childhood images, these reliefs subtly harmonize with the architecture of the building and its purpose.
The constructive and decorative techniques found in the Orphanage were developed by Brunelleschi in the Pazzi Chapel at the Church of Santa Croce in Florence (begun in 1430). This small chapel, striking in its harmonic integrity, is located in the depths of a narrow monastery courtyard; rectangular in plan, it is completed with a light dome. Its facade is a six-column Corinthian portico with a large middle span, covered by an arch. The slender proportions of the columns, the high attic above them, combined with new decorative elements, speak of a sense of proportion, of the creative application of the ancient order. With the help of the order system, the interior space of the chapel was also decided. Its walls, divided by pilasters into equal segments, are decorated with niches and round medallions. The pilasters end with a cornice bearing a vault and semicircular arches. Sculptural decorations and ceramics, graphic elegance of lines, contrasting color solutions emphasize the plane of the walls, convey integrity and clarity to a light, spacious interior.
One of the most important problems of Italian architecture of the 15th century was the development of the basic principles for the construction of the palazzo (city palace), which served as a prototype for later public buildings. At this time, a type of majestic building was created, rectangular in plan, with a single closed volume, with many rooms located around the courtyard. The name of Brunelleschi is associated with the construction of the central part of the Palazzo Pitti (begun in 1440) in Florence, laid out from huge, roughly hewn stone blocks (block masonry was called rust). The rough texture of the stone enhances the power of architectural forms. Horizontal tie-belts emphasize the division of the building into three floors. Huge eight-meter portal windows complete the impression of proud, austere strength produced by this palace.
Alberti. The next stage in the development of Renaissance architecture was the work of Leon Battista Alberti (1404–1472), an encyclopedic theorist, author of a number of scientific treatises on art (“Ten Books on Architecture”). In the Palazzo Rucellai in Florence (1446–1451), a three-story Renaissance palace with a courtyard and rooms located around, designed by him, Alberti introduces a system of pilasters that divide the wall into floors, entablature and lightweight rustication with a smooth polished surface.
Rossellino. The ancient heritage (Roman architecture) received a new plastic expressiveness in his interpretation. For the first time, the main elements of order architecture were introduced into the composition of the façade of the palazzo, bearing and carrying parts were identified, which also contribute to expressing the scale of the building and including it in the surrounding ensemble. The execution of Alberti's plan belongs to Bernardo Rossellino.
Benedetto da Maiano. The development of the early Renaissance palace type in the 15th century completes the Palazzo Strozzi in Florence (begun in 1489) by Benedetto da Maiano (1442–1497). This majestic palace is distinguished by the harmony of the main masses. Clear, correct in composition of plan and volume, with its three rusticated facades, it opens onto the street and driveways. Crowning it, magnificent in its classical form, the richly profiled cornice is clearly perceived in contrast to the harsh simplicity of the walls. The inner courtyard, which communicates with the street highway, loses its intimate character and becomes one of the front parts of the palace.
Renaissance in Italy
The first sprouts of the Renaissance culture in the field of fine arts arose in Italy in the 14th century, but in architecture they were discovered only at the beginning of the next century.
The appearance of a new style for the first time in Italy is explained by the fact that in the XIV-XV centuries it was an advanced country, trade routes passed through it at that time, connecting Europe with the countries of the East, which led to the development of the manufacturing industry, a significant increase in the class of artisans, and the enrichment of public leaders, the aggravation of the class struggle. In Italy, cities are growing rapidly - industrial, such as Florence, ports - Genoa, Venice. City life here wore developed forms. The ideas of humanism that characterize the era found concrete expression in the field of literature, philosophy, and in all areas of art.
The development of Renaissance architecture in Italy during the XV-XVI centuries. can be divided into three stages:
- Early Renaissance- XV century (1420-1500). The leading architect of this period was F. Brunelleschi (1377-1446), and the main center was Florence.
- high renaissance the first three decades of the 16th century. D. Bramante (1444-1514) becomes the leading architect, and the center moves to Rome.
- Late Renaissance- 1530-1580 years. The leading architect of this time was the great sculptor and painter Michelangelo Buonarotti (1475-1564).
The early period is associated with the province of Tuscany and its main city of Florence - the cradle of art and architecture of the Italian Renaissance. The first buildings with features of the new style appeared here at the beginning of the 15th century; in Northern Italy and Venice they are noted only in the middle of the century. The further movement of the center of architectural activity in Italy at the beginning of the 16th century to Rome was explained by the growth of the political activity of the papacy. Rome retained its role as the architectural capital of Italy over the following centuries. Significant architectural monuments were created in the 16th century in other regions of Italy - in the North and in Venice.
The main, most characteristic motifs of early Renaissance architecture include:
- an arcade on small columns (the heels of the arches rest directly on the capitals or sometimes on the "clippings" of the entablature, which in turn rest on the capitals);
- framed panels filled with a symmetrical acanthus ornament or containing a relief sculpture;
- shoulder blades or pilasters with a chain, candelabra ornament; rustic motif - torn or faceted (in northern Italy) for processing facade walls;
- a large extension (protrusion) of a highly developed crowning cornice on the facades of buildings (in Italy), etc.;
- in the period of the mature Renaissance - the motif of the Roman architectural cell, which replaced the arcade of the early Renaissance, and so on.
- - Ospedale degli Innocenti
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The very word "revival" sets us up for the perception of something beautiful, new, extraordinary. Indeed, the Renaissance era replaced the darker Middle Ages, actualized interest in man, his activities, objects of art, and ancient culture. What are the features of Renaissance architecture?
History of Renaissance architecture
The Renaissance era replaced Gothic in the early 15th century and dominated until the early 17th century. The era has become a symbol of the revival of interest in the values of Ancient Rome and Ancient Greece. Symmetry, logic and harmony have become the main elements for the architectural style. In addition, it was at this time that construction and architecture ceased to be anonymous. Famous architects appear, with their own styles and recognizable features.
The buildings of the Renaissance differ from the Gothic ones in their vitality, comfort, they stand securely on the ground, have regular and pleasing to the eye outlines, simple regular geometric shapes, and a clear number of storeys.
The influence of antiquity is reflected in the use of the order system and all kinds of columns. The buildings of the Renaissance are symmetrical, have a pleasant life-affirming color of the facades, decorated with stucco, plastered.
Features of Renaissance architecture
The Renaissance era became a kind of reference to classical Roman architecture. The following features returned to construction:
- Symmetry,
- proportions,
- The dominance of rectangular shapes for buildings for various purposes,
- The importance of decoration
- Use of a lightweight structural system.
Orphanage in Florence
A striking example of the embodiment of Renaissance architecture in Italy is the Educational House in Florence. It belongs to the genius of Filippo Brunelleschi, who gave rise to perspective as a pictorial technique.
The two-story house appears before the viewer in the form of a long arcade, raised from the ground by a certain number of steps. The building is located on the square, horizontally elongated (Gothic buildings, in turn, aspired exclusively upwards), but at the same time does not create a feeling of excess, because the size of the building correlates with the area, balancing it.
Graceful columns, thin vaults of arches, a row of rectangular windows - lightness shines through in the facade, despite the actual massiveness of the structure. If the first floor is richly decorated, then the second is a modestly plastered wall. This building incorporates the distinctive features of Renaissance architecture: constructive clarity, antique simplicity, harmony.
St. Peter's Basilica in the Vatican
St. Peter's Basilica in the Vatican is another example of Renaissance architecture. Donato Bramante worked on its construction, and then Rafael Santi and Michelangelo. By the way, it was the latter who came up with the idea of creating the most majestic dome in the world - it was raised to a height of 136 meters.
The cathedral is incredibly rich in decoration, its sculptures and statues adorn the outside, the doors themselves are a piece of art, marble bas-reliefs, and inside everything is so richly and generously decorated that it is impossible to dwell on a single element. Harmony, luxury, beauty - all this can be said about the internal structure of the cathedral.
The Renaissance gave the world of architecture a lot: both the principles by which they are still building, and the great masters of their craft, whose names have forever gone down in history and whose buildings continue to delight us today, more than 4 centuries later.
In architecture style Renaissance(“Renaissance”) appeared by the beginning of the 15th century. Architects are returning to the clear and logical order systems of antiquity - scaled to man and constructively truthful. Lancet Gothic vaults and arches give way to cylindrical and cross vaults. The Renaissance opened up new possibilities for the formation of the human personality. Artists, architects and urban planners tried to create other models of the human living environment. The beginning of the Renaissance in architecture is associated with Florence. Rome, the capital of the Catholic Church in Europe, became the center of High and Late Renaissance architecture.
(Tuscany), founded in the 1st century. BC. on the site of an Etruscan settlement, is one of the main centers and symbols of the Renaissance. In the XII century. the city gained independence, minted its own coin, and the inhabitants of the Florentine Republic were such personalities as Dante Alighieri, Michelangelo, Leonardo da Vinci and Machiavelli. Florence flourished in the 15th-16th centuries, during the reign of the Medici dukes, who were involved in the creation of the two main museums of the city of the Renaissance - Uffizi galleries and Palazzo Pitti. In the XV century. the main cathedral of the city was built - Santa Maria del Fiore, now the third largest temple in the world (after St. Peter's Cathedral in Rome and St. Paul's Cathedral in London). The huge dome of the cathedral (diameter 42 m) later became the prototype of the dome of St. Peter's Cathedral. Near the cathedral, a white and pink bell tower shot up. The baptistery of the cathedral was built in the 11th century. in the Romanesque style.
At the end of the XV century. V Milan(Lombardy) was rebuilt and turned into a Dominican monastery. The fresco "The Last Supper" - Leonardo da Vinci's masterpiece - brought world fame to the monastery. To search for the faces of the apostles, the artist went to the poor quarters of the city, but the face of Jesus Christ remained unfinished. Nevertheless, this is one of the most finished works of Leonardo da Vinci. According to the perfection of the composition, the brightness of the colors and the expressiveness of the faces, the fresco is considered unsurpassed.
The masterpiece of architecture of the High Renaissance is (Vatican), built in the XVI - early XVII centuries. Raphael, Michelangelo, Bernini and other architects took part in the construction of the cathedral. The cathedral, built over the tomb of the Apostle Peter, is the largest religious building in the world. St. Peter's Cathedral with a giant dome (diameter 42 m), Bernini's double colonnade, surrounding St. Peter's Square, with adjacent palaces and gardens, became the center of the Vatican city-state.
In urban planning in the Renaissance, “ideal cities” and their urban planning elements - squares, parks, ensembles of buildings - become the object of development. One of these "ideal cities" was the capital of Malta. The city is named after the master of the Order of St. John of Jerusalem (St. John of Jerusalem, who made a “stop” on the island of Rhodes in) Jean Parisot de La Valette, who founded the city in the middle of the 16th century. The city has a regular layout within the fortress wall, here 320 monuments are concentrated in a small area.
The Renaissance influenced the formation of the appearance of the historical centers of many cities. These include the centers of the city-palace (Marche) - the birthplace of Raphael, "ideal cities" Ferrara(Emilia-Romagna) and Pienza(Lazio), cities Mantova(Lombardy) and vicenza(Veneto), Genoa(Liguria) and Naples(Campaign), etc. City Matera(Basilicata) is also known for its Sassi ("stones") area, where the streets run between houses and churches cut into the tuff rocks. In some places, this "cave city" looks the same as 2.5 thousand years ago.
During the Renaissance, cultural landscapes are formed that combine the natural virtues of the area, innovative land use methods, local traditions and architecture, artistic aesthetics and the ideals of the Renaissance. Cultural landscapes (Tuscany), amalfi coast Tyrrhenian Sea (Campaign), Cinque Terre or Ligurian Riviera(Liguria) with the medieval city of Portovenere and the Genoese fortress, Sacri Monti, i.e. "Holy Mountains" (Piedmont and Lombardy).
In the Renaissance style, the park is broken Villa d'Este in Tivoli(Lazio). The culture of the Renaissance is presented in all its splendor in this "garden of miracles": fountains, ornamental pools, sculptures, places for secluded relaxation, etc. Villa d'Este influenced the development of landscape art in Europe and could even serve as a prototype for palace and park ensembles in ( France) and Peterhof (Russia). In the middle of the XVI century. the first Botanical Garden in the world appeared in the city of Padua (Veneto) as a result of increased interest in the natural sciences (the local university was opened as early as the 13th century).
From the resort town of Rimini (Emilia-Romagna), located on the Adriatic Sea, overlooking a rock with three teeth, located 20 km from the sea. The “Trident Rock” is Mount Titano (738 m above sea level), towering like a giant above the surrounding low hills. And the three prongs on the mountain are the three fortresses of the city, which is the capital of the state of the same name. There is a legend according to which Mount Titano, unexpectedly born in the lowlands, is a step of a huge staircase built by the titans - the children of Uranus and Gaia. The Titans wanted to get to Olympus this way in order to kill Zeus. But the "god of gods" defeated the titans and cast them into the "kingdom of Hades."
Three belts of fortress walls were erected around the city of San Marino. Until now, the third belt of walls has been preserved, outlining the modern center of the city. Within the former first belt of walls there is a church where the relics of St. Marino are kept, as well as ancient cisterns (“fossi”), which served to collect rainwater and supply the city. Within the second belt of walls is the Government Palace, built at the end of the 19th century. on the site of the old palace of the XVI century. and in the style of the same era.
On the eastern outskirts of the central part of the city is a fortress Guaita(western "prong" on Mount Titano), which used to be a prison. The construction of Guaita began in the 10th century, and in the 15th-17th centuries. The fortress was rebuilt several times. The central "prong" of Mount Titano is the fortress of Chesta (the second name is Fratta). The fortress was built in the 13th century and was restored at the beginning of the 20th century. Now in the fortress of Chesta there is a museum of ancient weapons. The eastern “prong” of the three-headed peak of Titano is the fortress of Montale, of which only a tower has survived, restored in the middle of the 18th century. The tower offers a view of three sides of the horizon at once, so it has long served as an observation and watchdog function.
