Arch 250 1st Edition Lecture 16 Outline of Lecture 15I. Medici PalaceII. Leon Battista AlbertIII. Palazzo RucellaiIV. Medici Chapel v. Palazzo RucellaiV. San FrancescoOutline of Lecture 16I. Santa Maria NovellaII. Church of San Andreaa. Temple of Fortuna Viriliab. Arch of Titusc. Basilica of Maxentus and ConstantneIII. Donato BramanteIV. Santa Maria presso San Satro V. The TempiettoVI. Giulio RomanoVII. Palazzo del Tea. Room of the GiantsVIII. Michelangelo BuonrottiIX. Laurentan Library San LorenzoSanta Maria Novella // Florence, Italy // 1279 – 1310, 1456 – 1470 // AlbertiFaçade built in 15th c. Renaissance by Leon Battista AlbertOriginally built by Dominican OrderPatron acknowledged in Roman numerals at topSail motf  RuccellaiNeeds a façade with a tall nave and short aisles but keep completed part of façade  new central portal in the form of a coffered arch, Corinthian half-columns, second story, scrollsInspired by San Miniato al Monte (11th c.)Tuscan/Florentne use of polychrome marbleContributon to renaissance: rectangular moduleThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.Width = heightStories are equal heightLower story 2x wide as upper storyTombs flank the entranceChurch of San Andrea // Mantua, Italy // 1472 – 1494 // AlbertiCommissioner: Ludovico Gonzaga, Duke of MantuaFaçade: Roman temple + triumphal archAlbert had lived in Rome for many yearsMilitary triumph  triumph of ChristanityCorinthian pilasters on pedestals stretch at 3 stories  architrave  friezeTwo-story Corinthian pilasters support another architrave and frieze and the central arch with barrel vaultNave borrows directly from Constantne’s basilicaDome: focal point of illuminaton; shines on altarRound clerestory windowsDrum  dome  oculusPaintngs become more prominent to engage people in the faithFrieze = contnuous horizontal element, often decorated, above architraveArchitraves have 3 bands in Greek ionic order, common in RenaissanceTemple of Fortuna Virilia (Portunus) // Rome // early 1 st c. BCE:Smooth friezeDentls above architraveDentls at base of cornice (above pediment)Arch of Titus // Rome // ca. 81:Triumphal archDedicated to emperor by Senate and Roman peopleCentral arch: barrel vault, coffered ceilingEngaged composite capitals (Corinthian + ionic)  entablature (frieze)Dedicaton on atticFirst appearance of composite capitalsBasilica of Maxentus and Constantne // Rome // 307 – 315 CE:Basilica = adaptable Roman law courtAdapted for early Christan church designBrick and concreteCoffered Barrel vaulted bays along naveDonato Bramante (1444 – 1514)Born in Urbino, Italy; moved to Milan; RomeTrained as a painterHired to restore San Satro (9th c.) and adjoining church dedicated to Santa MariaSanta Maria presso San Satiro // Milan // 1482 – 1492 // Bramante1499 City sacked by army of Louis XIILatn cross basilicaBarrel vaults in nave and transeptsDome above crossing squareUnconventonal constructon of Eastern endFaked the choir: optcal illusionTrompe l’oeil = trick the eyeEven painted in the shadowsPainted coffersPilasters  frieze  corniceThe Tempietto // Rome // 1502 // BramanteCommissioned by Kigng Ferdinand and Queen Isabella of SpainWhere St. Peter was martyred (crucified)Based on Vitruvius’s accounts of ancient modelsDoric proportonsCloister around building never finishedDoric frieze: triglyphs and metopes; symbols of St. PeterGiulio Romano (1499 – 1546)“John the Roman”Born in Rome, well educatedStudent of Raphael1524: hired by Gonzago family in MantuaPalazzo del Te // Mantua //1525 – 1532 // Giulio RomanoImitates the plan of a horse stableMannerism = classical elements used out of context or strangley  creates sense of tension or ambiguity; gets attentonRustcated base  pilasters  Doric frieze (Tempietto reference)Metopes: armor, horses, potteryLayering of elements on façade (mannerism)Axial layoutBarrel vault with coffers (imitate basilica of Constantne)Rustcated columns (?!)Keystones and brackets where they shouldn’t beAlmost looks like a Greek ruin; constantly challenging classical formatRooms are often square or rectangular with spectacular paintngs and illusionsRoom of the Giants:(Sala dei Gigant)Designed by Giulio RomanoPainted by Rinaldo MantovanoGiants are tearing down the architectureGods staring down at youGiants are painted at a giant scaleArtsts and architects breaking new groundMichelanglo Buonarroti (1475 – 1564)Born in FlorenceApprentce to painter Domenico del GhirlandaioLearned humanist principles while living in the Medici PalaceSan Lorenzo // Florence // 1524 // MichelangeloCommission by Pope Leo X (Medici), then Cardinal Giulio de Medici (Pope Clement VII)Michelangelo’s tasks:New SacristyTomb of Giuliano de Medici, sculpture of Giuliano and Mannerist Day and NightFacade of the basilican churchLaurentan LibraryRecessed columns necessary for support but appear less importantCompression of oversized staircase and other elements in small but tall