Renaissance Masterpieces: Art and Architecture
Basilica di San Lorenzo, Florence
Details
Author: Filippo Brunelleschi
Chronology: 1421-1470
Style: Quattrocento
Material: Pietra Serena, Marble
Brunelleschi wrote extensively about the architecture, his obsession with perspective, directing all eyes towards the altar where vanishing points are concentrated. Columns with Corinthian capitals allow more light at height. Simple round windows in the triforium. Coffered ceiling. Known as the Basilica Ambrosiana, commissioned to honor the family of Bishop Ambrogio Medici. Brunelleschi did not finish the work because he died. Materials include “Pietra Serena,” a gray stone from Florence, and parts of marble.
Support Elements: Columns with slender shafts, Corinthian capitals, entablature (architrave, frieze, cornice) at the springing point of the arches. Between the nave and the side aisles are support elements (columns).
Decorative Elements: Decorated intrados.
Roof: Architraved (made of stone) with arched roofs and coffering.
Side Aisles: These are bays from side to side, lower than the central nave. Side aisles and chapels where there is light. Chapels have arches and simple pilasters (decorative element).
Plan: Latin cross plan with a square apse and sacristy. On a wall above the arches and windows, there are no decorative elements. For light in the aisles and chapels, some oculi were placed.
Dome: There is a dome with pendentives.
Floor: Lines towards the altar.
Inspired by the Roman period.
Tempietto di San Pietro in Montorio
Details
Author: Donato Bramante
Chronology: 1502
Material: Stone, Marble, Granite, Travertine
Bramante was the first Renaissance architect completely inspired by classical forms. Inspired by the Vatican dome. Spain commissioned this building for a Franciscan convent. A peristyle building (surrounded by columns), a symbol of the Catholic Church. Built on the crypt where the first Pope, St. Peter, was martyred.
Material: Travertine (balustrade, capitals, stairs), Granite (shaft of the column).
Support Elements: Columns, continuous wall (cella). Doric Order.
Crepidoma: Steps.
Represents the three virtues of the Church (faith, hope, and charity). There are Tuscan pilasters.
Roofs: 2 (peristyle roof, dome).
Entablature: Entablature and balustrade.
Dome: Lantern and has a drum base.
Decorative Elements: Frieze: metopes, triglyphs (Metopes depict instruments used to martyr St. Peter and liturgical items). Drum: niches opened for more light, decorated with pendentives.
Plan: Circular.
David (Donatello)
Details
Author: Donatello
Chronology: 1444-1446
Style: Quattrocento
Technique/Material: Cast Bronze, Iron elements
Commissioned by the Medici family. Natural size sculpture. Nude. Theme: Mythology/Old Testament. (A young shepherd, David of Bethlehem, entered the service of King Saul. In a battle against the Philistines, David offered to combat Goliath the giant. The statue depicts David as a young teenager, as Donatello saw him, resting after defeating Goliath with his sling and cutting off his head, which rests at his feet.)
Body anatomy. Attempts psychological expression. Recovers the canon of human beauty.
Hat: Symbolizes Florence (typical shepherd’s hat in Florence). Represents the moment of David’s victory.
Color: Monochrome.
Technique: Casting (preparing a mold, pouring heated metal in a liquid state. Once the metal has cooled, the mold is broken and the work is revealed.)
Vision: Multifacial.
Rhythm: Contrapposto (unbalanced hips, one foot forward and flexed).
Significance: Commemorates Florence’s victories against its rivals.
Function: Donatello recovers the idea of the canon of human beauty as a sculptural subject and gives sculpture a new impetus with portraits.
Pietà (Michelangelo)
Details
Author: Michelangelo
Chronology: 1498-1499
Style: Cinquecento
Theme: The Virgin Mary holds the lifeless body of her son, Jesus, with the resigned expression of one who accepts a higher will. He died to redeem humanity.
Technique/Material: Carved Marble. Color: Monochrome.
Form Elements:
- Vision: Multifacial.
- Terribilità : Great expressiveness of the sculptures.
- Sculpture group is sedentary.
- Pyramidal composition.
- Virgin’s legs are larger than her body (contrast).
- Contrast between the Virgin (dressed) and Jesus (nude).
- Expressions: Jesus: Tranquility. Virgin: Resignation. She does not look at Jesus.
- The Virgin appears too young.
- Flemish influence.
- There is a signature of Michelangelo on the Virgin’s sash.
Sistine Chapel Ceiling
Details
Author: Michelangelo (Implied)
Chronology: 1508-1512
Style: Cinquecento
Theme: The Genesis.
Commissioned by Julius II. Many nude male figures. First time representing God the Father. Colors: Lilac and green (among others).