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ITALY, 1500-1600 GARDNER CHAPTER 22-3 PP. 597-603

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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 Peters 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

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BRAMANTE The first in the line of distinguished architects of the new Saint Peters 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

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TEMPIETTO Donato Bramantes 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

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BRAMANTES LITTLE TEMPLE DONATO DANGELO 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.

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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 1514. 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

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BRAMANTE PLAN FOR THE NEW SAINT PETERS DONATO DANGELO BRAMANTE, plan for the new Saint Peters, the Vatican, Rome, Italy, 1505 Bramantes design for the new church to replace the Constantinian basilica of Saint Peters -> central plan consisting of a cross w/arms of equal length, each terminating in an apse

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CHRISTOFORO FOPPA CARADOSSO, medal showing Bramantes design for the new Saint Peters, 1506

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PALAZZO FARNESE Antonio da Sangallo, FARNESE PALACE, c. 1530-1546, 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

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ANTONIO DA SANGALLO THE YOUNGER, courtyard of the Palazzo Farnese, Rome, Italy, ca. 15301546. Third story and attic by MICHELANGELO BUONARROTI, 1548.

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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

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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

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VILLA ROTONDA ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 15661570 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

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SAN GIORGIO MAGGIORE

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

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