ABPL 702835 Post-Renaissance Architecture

the High Renaissancethe High Renaissance

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the ad ent of the High Renaissancethe advent of the High Renaissancec 1500-1530

conclusion of the exploratory phase ofconclusion of the exploratory phase of Brunelleschi & Alberti

establishment of a consistent classical languageg g

many more architects involved, notably D t B tDonato Bramante

focus shifts from Florence to Milan to Romefocus shifts from Florence to Milan to Rome

Palazzo Medici (so-called Banco Mediceo), Milan, c 1455-60, probably by Michelozzo

Il Filarete, treatise on architecture, Biblioteca Nazionale, Florence

Castello Sforzesco [Sforza-Visconti castle], Milan, c 1450-1499 : corner tower, probably by Bramante, c 1492-6 Argus fresco in the Sala di Tesoro, by Bramante, c 1490s

Fine Arts, 172/ M637/ 3sv; 75-168; Bruschi, Bramante, p 53

Donato BramanteDonato BramanteDonato (or Donnino) de Angelo di Antonio

?1444 1514?1444-1514

born near Urbinoborn near Urbino

a painter, then an architecta painter, then an architect

practised in Milan, then Rome

developed a more urbane classical style

fresco of Democritus and Heraclitus , formerly in the painted room, Casa Panigarola, Milan, by Bramante, c 1490

Fine Arts, 372/ B195/ 1490/ 7dh

'R i d t l ' b B t'Ruined temple', by Bramante, engraved by Bernardo

Prevedari, 1481; reconstructed plan and section by G C Milettiplan and section by G C Miletti

Bruschi, Bramante, p 33

Santa Maria presso San Satiro, MilanSanta Maria presso San Satiro, MilanBramante’s work beginning 1482 or earlierBramante’s work beginning 1482 or earlier

Santa Maria presso SanSanta Maria presso San Satiro, Milan

San Satiro C9th and in theSan Satiro, C9th, and in the left background Santa Maria

presso San Satiro

conjectural reconstruction plan of the original chapel

scheme, possibly byscheme, possibly by Bramante, c 1478

Miles Lewis; Bruschi, Bramante, p 36

San Satiro, view, and interior remodelled by Bramante as the Cappella Pièta , , y pp[Pièta Chapel]: interior view from the west

Miles Lewis; Fine Arts, 172/ M637/2sa/ch; 77-14 44

Santa Maria presso San Satiro by Bramante c 1478Satiro, by Bramante, c 1478-

86: reconstruction of the original

chapel scheme c 1478 &chapel scheme, c 1478 & ultimate plan

Bruschi, Bramante, p 36; Icarus 1990, A7072 (PLAN)

Santa Maria presso San Satiroh lf ti / h lf l ti f th lit i l thalf section / half elevation from the liturgical east

Santa Maria presso San Satiro; Sant' Andrea, Mantua, by Alberti, 1470-72Fine Arts, 172/ M637/2SA/CHO; 98.087.11; 172/M291/2an/in

Santa Maria presso San Satiro pview towards the choir

half plans of the east wall, at altar level and above

view across the transept, with the p ,trompe l’oeil and altar at the left

Santa Maria presso San Satiro

Jeremy Blake, La Falsa Prospettiva in Italian y , pRenaissance Architecture (Stocksf-ield

[Northumberland] 1982), no page

Santa Maria presso San Satiro: sectional view & planFine Arts, 172/ M637/2SA/PLAN; RE02.020.05; Bruschi, Bramante, p 36

Santa Maria presso San Satiro, sacristy

Fine Arts, 172/M637/2SA/PLAN;RE02.020.05

Santa Maria presso San SatiroSanta Maria presso San Satirothe liturgical west elevation as designed by Bramante

MUAS 16,820

Santa Maria della Grazie, Milan Santa Maria della Grazie, Milan Bramante’s work from 1492 onwardsBramante’s work from 1492 onwards

Abbey of Santa Maria della Grazie, C15th onwards

plan with Bramante’s work bottom rightplan, with Bramante s work bottom rightview of Bramante’s work from the south-east

Bruschi, Bramante, p 54; Miles Lewis

Santa Maria della Grazie, Milan, eastern arm by Bramante, from 1492: sectionFine Arts, 172/ M637/2gr; 79-71

Santa Maria della Grazie, Bramante’s work from the sw; Baptistery at PaduaFine Arts, 172/ M637/2gr; c88.20.661; Heinrich Klotz, Filippo Brunelleschi (London 1990), p 136

S Lorenzo, Milan, c 370: plan & reconstructionWilliam MacDonald, Early Christian and Byzantine Architecture (London 1968 [New York 1962]), pl 37; Fritz Baumgart, A History of Architectural Styles (London 1970 [1969]), p 57

S t M i d ll G i iSanta Maria della Grazie, viewsFine Arts, 172/ M637/2gr; c88.20.661

172/M637/2gr/tr; c88.20.667

Santa Maria della Grazie

interior looking east

Fine Arts, 172/ M637/2gr/tr; , g ;c88.20.663

Santa Maria della Grazie: view of the domeFine Arts, 172/ M637/2gr/cu; c88.20.665

Santa Maria dei MiracoliSanta Maria dei Miracoli, Venice, by Pietro

Lombardo, 1481-9

Heydenreich & Lotz, A hit t i It l l 85Architecture in Italy, pl 85

Santa Maria della Grazie: view of the main dome and the umbrella vault of the choirSanta Maria della Grazie: view of the main dome and the umbrella vault of the choirBruschi, Bruschi, Bramante,Bramante, p 42p 42

Sant’ Ambrogio, MilanSant’ Ambrogio, MilanSant Ambrogio, MilanSant Ambrogio, MilanBramante’s cloisters from 1492 onwardsBramante’s cloisters from 1492 onwards

Sant’ Ambrogio, Milanplan of the complex, with the Canonica, Doric Cloister, & Ionic Cloister

Canonica of S Ambrogio Milan by Bramante from 1492Canonica of S Ambrogio, Milan, by Bramante, from 1492details of court with the tree trunk column

Philip Goad, 1996

Sant' Ambrogio, Milan, Doric Cloister by Bramante, begun 1497Philip Goad

Sant' Ambrogio, MilanIonic CloisterIonic Cloister

Philip Goad

Bramante in RomeBramante in RomeBramante in RomeBramante in Rome

the 'Nymphaeum', Genazzano, attributed to Bramante, possibly 1501-2Bruschi, Bramante, p 112

the 'Nymphaeum‘, Genazzano,

detail of adetail of a surviving arch

B hi B tBruschi, Bramante, p 113

Palazzo della Cancellaria, Via della

Conciliazione Rome byConciliazione, Rome by Donato Bramante or

Francesco di Georgio [Martini] 1485-95:[Martini], 1485-95:

contemporary elevation

view along the front

Fine Arts, 172/R763/3CAN; 96.0603.01C3899; 172/R763/3CAN;172/R763/3CAN; 96.0603.01C3899

Palazzo della Cancellaria: close viewBussagli, Rome, p 356

Palazzo della Cancellaria, the courtyardPalazzo della Cancellaria, the courtyard Bussagli, Rome, p 357; Fine Arts, 172/R763/3can/cy; C38.99

the cloister of Santa Maria della Pacethe cloister of Santa Maria della Pace

S M i d ll P RSanta Maria della Pace, Romeaerial view & plan of the

cloister and church

Fi A t 172/R763/2MPA AA 96 02Fine Arts, 172/R763/2MPA; AA.96.02Letarouilly, Édifices de Rome Moderne

Cloister of Santa Maria della Pace by Bramante 1500 4Cloister of Santa Maria della Pace, by Bramante, 1500-4plan & elevational diagrams by Bruschi

Bruschi, Bramante, pp 77, 76

Cloister of Santa Maria della Paceuse of the ordersuse of the orders

Cloister of Santa Maria della PaceFine Arts, 172/R763/2MPA/CLO; 093.123.04

Cloister of Santa Maria della Pace: the ionic thread pilasterFine Arts, 172/R763/2mPa/pil; 87.180.11; 172/R763/2mPa/pil; 87.180.12

the Tempiettothe Tempiettothe Tempiettothe Tempietto

San Pietro in Montorio, Rome, begun c g1480, possibly by Francesco di Giorgio

[Martini]

plan & section of courtyard andplan & section of courtyard and Tempietto as projected by Bramante,

(after Serlio)

Bruschi, Bramante, p 134Fine Arts, 172/R763/2pMo; 81-116A-11

'Tempietto' San Pietro in Montorio Rome by Donato Bramante c 1499-1506Tempietto , San Pietro in Montorio, Rome, by Donato Bramante, c 1499 1506view and half section / half elevation, from Palladio

Lewis, Architectura, p 26 Peter Murray, The Architecture of the Italian Renaissance(London 1969 [1963]), from Palladio, I Quattro Libri

Temple of Hercules Victor ('Temple of Vesta'), Rome, AD 205view: half elevation / section, by Palladio

Mil L iMiles Lewis;Andrea Palladio [ed Isaac Ware], The Four Books of Andrea Palladio's Architecture

(London 1738) IV, pl XXXV

Tempietto: entablature detailBruschi, Bramante, p 132

Tempietto: interior detail & view up to the dome

Fine Arts, 172/R763/2pMo/int; C.6-82-BR176; 172/R763/2pMo/int; C.6-82-BR177.

Tempietto: view

Brian Lewis

the Vatican & St Peter’sthe Vatican & St Peter’s

plan of Rome showing works planned or

facilitated by Bramante for Julius II

(St P t ' d th(St Peter's and the Vatican, top left)

St Peter's Basilica and the Vatican Palaceview by Maerten van Heemskerk, c 1550, with the tall west range or logge of the unfinished

Courtyard of S Damaso, by Bramante, c 1507-9

St Peter's and the Vatican: plan showing the approximate intentions of BramanteBruschi, Bramante, p 116

Vatican, Rome, Cortile del Belvedere, by Bramante, [1503] 1505-1513: plan & section

J C Shepherd & G A Jellicoe, Italian Gardens of the Renaissance (New York, nd [c 1993] [1953]), fig 2

Cortile del Belvedere, exedra of upper court: reconstruction of Bramante's original design

Cortile del Belvedere: detail from a view of the Vatican by Israel de Silvestre

H A Millon [ed], The Triumph of the Baroque: Architecture in Europe 1600-1750 (New York 1999), p 79

Cortile del Belvedere: view towards the exedra

Fine Arts, 172/V345/3be; 86.1.6

north wall of the Giardino della Pigna Cortile del Belvedere:north wall of the Giardino della Pigna, Cortile del Belvedere:elevational detail by a pupil of Bramante & modern view

Codex Coner, Sir John Soane's Museum, LondonBruschi, Bramante, p 102

BelvedereBelvedere staircase

Letarouilly, Édifices de Rome Moderne

Bruschi, Bramante, p 86Fi A tFine Arts

172/v345/3bc’plan/stair/c6-82-DVIO

St Peter's Basilica Rome C4th with medieval additions restoration view as at the timeSt Peter s Basilica, Rome, C4th, with medieval additions, restoration view as at the time of demolition by H Brewer

James Lees-Milne, Saint Peter's: the Story of Saint Peter's Basilica in Rome (London 1967), pp 84-5

St Peter's Basilica with the C4th nave Bramante's temporarySt Peter s Basilica, with the C4th nave, Bramante s temporary structure around the shrine, and the dome rising

MUAS 15,580

St Peters, Rome, as intended by Bramante in 1506reconstruction of the plan, section & elevation

Fine Arts, 172/V345/2PE/P1506; 81.69.22; Bruschi, Bramante, p 153

St Peters, Romefoundation medal by Cardosso, with elevation of Bramante's project of 1506

dome and drum as projected by Bramante from 1506: reconstruction plan & section

British Museum; Fine Arts, 172/V345/2pe/P1506; 81-69-7

Bramante’s scheme for St Peter’sPeter’s

conjectural reconstruction

centralised churchescentralised churchescentralised churches centralised churches

‘market church’ for Sforzinda‘ d t l ’ f‘second temple’ for

Plusiapolis

centralised churches bychurches by

Filaretefrom the Treatise bk X folios

‘first temple’ for Plusiapolisfrom the Treatise, bk X folios

73v, 76v; bk XIV, foiol 108r; bk XV folio 119v

centralised churches: two sheets of drawings by Leonardo da Vinci, from ms 'B', c 1489 or laterInstitut de France, Paris

Santa Maria della Consolazione, Todi by Cola da Caprarola withTodi by Cola da Caprarola, with advice from Peruzzi, 1508-64

Eugene Beer, Italy: History and Landscape (New York 2006), p 235; Fine Arts 172/T638/2Co; c.6-82 B61

Santa Maria della Consolazione, Todi by Cola da C l ith d i f P i 1508 64Caprarola, with advice from Peruzzi, 1508-64

‘market church’ for Sforzinda by Filarete c 1461-4

FA172/T638/2Co; c.6-82 B61; Filatrete, Treatise, book X folio 76v

H Sophia, Istanbul, by Anthemios & Isodorus, 532-7:

C15th drawing by Cyriac of AnconaAncona

Vatican Cod. Lat. Barb. 4424 foilio 2828

M d di S Bi iMadonna di San Biagio, Montepulciano, by Antonio

da Sangallo the Elder, 1518-2929

view, plan & section

Eugene Beer Italy: History andEugene Beer, Italy: History and Landscape (New York 2006), p 163; Murray, Italian Renaissance, p 136

contemporariescontemporariescontemporariescontemporaries

Palazzo Caprini [House of Raphael], Rome, by Bramante, c 1510Boucher, Palladio, p 23

street front Horreastreet front, Horrea Epigathiana, Ostia,

after AD 150l ti & d t ilelevation & detail

MUAS 1448 ; J W P Campbell & Will Price Brick: a World HistoryWill Price, Brick: a World History

(London 2003), p 47

Palazzo Vidoni-Caffarelli, Rome, by Raphael ?1515Pru Sanderson

Palazzo Branconio dall' Aquila, by Raphael, 1516-17 (demolished C17th) Boucher, Andrea Palladio, p 170

Villa Madama, Rome, by Raphael, executed by Antonio da Sangallo the younger from 1518: the round courtyardSangallo the younger, from 1518: the round courtyard

L H Heydenreich & Wolfgang Lotz [translated Mary Hottinger], Architecture in Italy 1400 to 1600 (Harmondsworth [Middlesex] 1974), pl 179

Villa Madama, Rome, by Raphael, executed by AntonioRaphael, executed by Antonio da Sangallo the younger, from

1518: the loggia

Villa Farnesina alle Lungara, by Baldassare

Peruzzi, 1509-11elevation & part-plan

Murray, Italian Renaissance, p 162

Villa Farnesina

David Marshall. Fine Arts, 172/ R763/3 far.

Fine Arts, 172/R763/3far; D.31163

Villa Farnesina

detail of the elevation

David Marshall. Fine Arts, 172/ R763/ 3far; 91.244.39

the Banquet of Psyche, by Raphael, in the vault of the Psyche loggia Villain the vault of the Psyche loggia, Villa

Farnesina

Fine Arts, 172/ R763/3 far/ log P

Farnese Palace, Rome, by Antonio de Sangallo the younger, c 1513 onwards, enlargedFarnese Palace, Rome, by Antonio de Sangallo the younger, c 1513 onwards, enlarged scheme c1534-45, completed by Michelangelo from c 1545: engraved elevation of 1549

L H Heydenreich & Wolfgang Lotz, Architecture in Italy 1400 to 1600 (Harmondsworth [Middlesex] 1974), pl 213

Farnese Palace, Rome, by Antonio de Sangallo the younger, c 1513 onwards, enlarged scheme c1534-45, completed by Michelangelo from c 1545: engraved elevation of 1549

Rowe & Satkowski, Italian Architecture of the Sixteenth Century, p 119

Farnese Palacedetails of Sangallo's intended

elevation

MUAS 10,902

Farnese Palace courtyardFine Arts 172/R763/3fan/cy; D.2/860; 172/R763/3fan/cy [82-28-3]

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