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HISTORY OF ARCHITECTURE AND CULTURE-II
ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 1

RENAISSANCE IN EUROPE
Module - 1
• Cultural changes that led to Renaissance in Europe- Early, Middle and High Renaissance-
Characteristics , Brunelleschi, Michael Angelo- Florence Dome, New St. Peter’s church, Rome.
• Baroque, Rococo, Neo Classical - Definition.

Introduction
Renaissance architecture, style of architecture, reflecting the rebirth of Classical culture, that
originated in Florence in the early 15th century and spread throughout Europe, replacing the
medieval Gothic style.
TIME AND PLACE
The Renaissance (Italian: Rinascimento, from ri- "again" and nascere "be born") was a cultural
movement that spanned roughly from the 14th to the 17th century, beginning in Florence in the Late
Middle Ages and later spreading to the rest of Europe.
• Florence – is considered as the birthplace of the Renaissance
• In Florence, the wealthy wool merchants and bankers sought prestige and status through their
patronage of arts and letters, and Architects and artists displayed their support through their
development of new forms in painting, sculpture and architecture.
What was the Renaissance?

• The intellectual transformation that happened during the Renaissance has resulted with this period
being viewed as a bridge between the Middle Ages and the Modern era.
• It substituted itself to Gothic architecture to return to the Antique architecture at the apogee of all
arts.

Social and Political influences
• Spread of the newly- discovered classic literature
• The revival of classic literature produced a desire for

the revival of Roman architecture
• Many works of Greek and Latin authors brought to light

about this time - Vitruvius' book of Architecture
translated into Italian in A.D.1521.
• Italian architecture was naturally the first to be affected,

because the Gothic style had never taken a firm hold on
the Italians, who had at hand the ancient Roman Temple of Vesta, Rome, 205 AD. As
remains one of the most important temples
of Ancient Rome, it became the
model for Bramante's Tempietto.

Historical influences
➢Three great inventions had an important influence
gunpowder, which had changed the whole method of warfare ;
the mariner's compass, which led to the discovery of the West Indies (1492) and
America, and the foundation of colonies by European states ;
printing, which favored that stirring of men's minds which caused the reformation in
religion, and the revival of learning.
The invention of printing, which aided the spread of knowledge, the spirit of inquiry, and the diffusion of freedom of
thought led to a desire to break away from Romish influence

THE PERIODS OF THE RENAISSANCE
• Early Renaissance
ca. 1400-1500
Brunelleschi, Alberti
• High Renaissance
ca. 1500-1525
Bramante
• Late Renaissance
ca. 1525-1600
Palladio

THE RENAISSANCE IN ITALY
As a cultural movement, it encompassed a resurgence of
learning based on:
• Classical sources
• The development of linear perspective in painting
• Gradual but widespread educational reform.
Although the Renaissance saw revolutions in many

intellectual pursuits, as well as social and political upheaval,
it is perhaps best known for its artistic developments and
the contributions of such polymaths as Leonardo daVinci
and Michelangelo, who inspired the term "Renaissance
man”.

THE VITRUVIAN MAN
• Rather than using the complex, geometric
transformations of medieval master masons,
Renaissance architects favored simple forms such as the
square and the circle.
• They made drawings of the human figure inscribed
within the basic outline of the circle and the square,
thereby demonstrating that the human proportions
reflected divine ratios.
Right: The Vitruvian Man by Leonardo DaVinci an

illustration of the human body inscribed in the circle and the
square derived from a passage about geometry and human
proportions in Vitruvius' writings

CHARACTERISTICS OF RENAISSANCE ARCHITECTURE
• Renaissance style places emphasis on symmetry,
proportion, geometry and the regularity of
parts as they are demonstrated in the
architecture of classical antiquity and in
particular ancient Roman architecture, of which
many examples remained.
• Inspired by Roman buildings, orderly
arrangements of columns, pilasters and lintels,
as well as the use of semicircular arches
hemispherical domes, niches and aedicules
replaced the more complex proportional
systems and irregular profiles of medieval
buildings.

• Plans - square, symmetrical appearance
in which proportions are usually based
on a module.
• Facades - symmetrical around their
vertical axis, domestic buildings are
often surmounted by a cornice
• Columns and pilasters - the Roman
orders of columns are used: Tuscan,
Doric, Ionic, Corinthian and Composite.
• Arches – Semi circular
• Vaults – Do not have ribs
• Domes - The dome is used frequently,
both as a very large structural feature The Basilica di Santa Maria
that is visible from the exterior del Fiore or the
Florence Cathedral
• Ceilings - Roofs are fitted with flat or
coffered ceilings, frequently painted or
decorated.
• Doors - Usually have square lintels, set
within an arch or surmounted by a triangular
or segmental pediment.
• Walls - External walls are generally of highly
finished ashlar masonry, laid in straight
courses, the corners of buildings are often
emphasized by rusticated quoins,
basements and ground floors were often
rusticated
• Details - Courses, Mouldings and all Palazzo Medici-Riccardi,
Michelozzo di Bartolomeo.
decorative details are carved with great
precision.
Worship of style Vs nature of

materials as formulated into
systems.
The main features in the

style were the Classic orders
- Doric, Ionic, and Corinthian

• Effect of skilled workers - Italy, possessed skillful

jewelers and excellent medalists, and it was by their
help that the Renaissance commenced and expanded.
• They concentrated on finished product and not

bothered about the means to such an end.
• There was an endeavor to reconcile the Gothic and

the Roman methods of construction
• A building observed, was regarded rather as a picture

with pleasing combinations of lines and masses than
as a structure of utility, being often designed by men
trained as painters, sculptors, or goldsmiths.

The decorative detail, an

advance was made.
Accessories of architecture
were erected, or added to
many old buildings, both in
Italy and other parts
Baptistery gate at Florence by Ghiberti,

The Dome
The Renaissance architects followed

the Byzantine treatment of the Dome,
but increased it in importance by
lifting it boldly from its substructure
and placing it on a " drum," in which
windows were formed, thus making it a
great external dominating feature

They were the first to

introduce as an
architectural "motif“ -
the wall of massive
rusticated masonry with
arched openings, as in
the Palazzo Riccardi,
Florence
Palazzo Riccardi, Florence

Renaissance Vaulting
• In the beginning of the fifteenth century
the Gothic principles of ribbed vaulting
were abandoned, giving place to the
revival of the Classic method of solid
semicircular vaulting
• Frequently built of wooden framing,

plastered and painted with colored
decoration, often of remarkable richness
and beauty, as at the Vatican palace by
Raphael.

The Architects of the Renaissance
• Filippo Brunelleschi (1377 –1446)
• Michelozzo di Bartolomeo (1396-1472)
• Leon Battista Alberti( 1404-1472)
• Donato Bramante (1444 –1514)
• Andrea Palladio (1508 –1580)
• Giacomo daVignola (1507 –1573)
• Michelangelo Buonarotti (1475 – 1564)

• Filippo Brunelleschi
• (1377 1446) was one of the foremost architects and

engineers of the Italian Renaissance.
• He is perhaps most famous for his discovery of
perspective and for engineering the dome of the
Florence Cathedral, but his accomplishments also
include other architectural works, sculpture,
mathematics, engineering and even ship design.
• His principal surviving works are to be found in
Florence, Italy

BRUNELLESCHI’S DISCOVERY OF PERSPECTIVE
• Brunelleschi codified the principles of geometrically
accurate linear perspective, making possible the exact
representation of a 3-dimensional object on a 2-
dimensional surface.
• In making careful drawings of such repetitive elements as
the arches of aqueducts, he realized that parallel
horizontal lines converge at a point on the horizon and
that elements of like size diminish proportionally in the
distance.
• This discovery had a profound effect of art, architecture
and civic design during and after the Renaissance.

• The Florence Cathedral dome (1436) by Filippo
Brunelleschi
Brunelleschi drew upon his knowledge of ancient
Roman construction as well as lingering Gothic
traditions to produce an innovative synthesis.
• Employed the Gothic pointed arch cross section instead of
a semi circular one
• To reduce dead load, he created a double shell as was
done in the Pantheon
• Employed 24 vertical ribs and 5 horizontal rings of
sandstone, as observed in the ruins of Roman
construction
• The cupola on top was a temple of masonry acting as a
weight on top of the dome.
• Designed special machines for construction.
The Florence Cathedral

SITE MAP

The Florence Cathedral

1350 s Florentines wanted to outdo the churches of Pisa and Siena and decided to expand the length of the Nave
The new pan demanded a larger dome
Floor plans for Florence

Cathedral with various
extensions

Floor plan Section

• The Florence Cathedral dome (1436) by Filippo
Brunelleschi
• Brunelleschi won by proposing a system which uses
limited wooden frame work
This is the blueprint of the construction of the Brunelleschi

Dome
(left to right; Outer Structure, Inner Structure, Ring
Supporters)

The Florence Cathedral dome
To deflect the lateral thrust he made a curving rib lattice structure with a
outer and inner dome of brick laid in herringbone bond to ensure cohesion
A large metal chain at the base of the dome protected it from outward
expansion
This solution did not required a support structure as it was self supporting
A centering structure erected during the last phase but it was supported on
the already constructed part of the dome
The dome terminated with an oculus 7 m in diameter
Over which a heavier lantern was placed to ensure that the ribs are in
compression Herringbone Bond
The Florence Cathedral dome

• The dome designed by Neri,
starting 52 metres (171 ft) above
the floor and spanning 44 meters
(144 ft)
• The total height of the dome and

lantern - 114.5 meters

• Michelangelo Buonarotti
• (1475 – 1564) Michelangelo di Lodovico Buonarroti

Simoni commonly known as Michelangelo was an
Italian Renaissance sculptor, painter, architect, poet,
and engineer who exerted an unparalleled influence
on the development ofWestern art.
• Despite making few forays beyond the arts, his
versatility in the disciplines he took up was of such a
high order that he is often considered a contender
for the title of the archetypal Renaissance man,
along with fellow Italian Leonardo daVinci.

• St. Peter’s Basilica by Michelangelo,
Donato Bramante, Giacomo della
Porta and Carlo Maderno.
Michelangelo’s dome for St Peter’s

basilica has a hemispherical form.
Della Porta, who constructed the dome
after Michelangelo’s death, employed a
taller profile in order to decrease the
lateral thrust and use the lantern cupola
to force the weight of the dome towards
the drum.

St. Peter’s Basilica
• Burial site of Saint Peter
• Built over St Peter’s shrine
• Name of cathedral set to honour his name
• Built around 320 AD by Emperor
Constantine
• Stood the Circus of Nero
• 30 years to completion
• In a bad shape by the end of the 15th
century
• Underwent major reconstruction &
refurbishment but soon turned into
demolition and rebuilding
• Main structure preserved even till now in
the new structure
• Burial site of Saint Peter
• Built over St Peter’s shrine
• Name of cathedral set to honour his name
• Built around 320 AD by Emperor
Constantine
• Stood the Circus of Nero Section: Old St Peters Basilica
• 30 years to completion
• In a bad shape by the end of the 15th
century
• Underwent major reconstruction &
refurbishment but soon turned into
demolition and rebuilding
• Main structure preserved even till now in
the new structure
Parts of Basilica
1.Propylaeum-the entrance building of a sacred
precinct, whether church or imperial palace.
2.Atrium-in early Christian, Byzantine, and medieval
architecture, the forecourt of a church; as a rule
enveloped by four colonnaded porticoes.
3.Narthex-the entrance hall or porch proceding the
nave of a church.
4.Nave-the great central space in a church. In
longitudinal churches, it extends from the entrance to
the apse (or only to the crossing if the church has one)
and is usually flanked by side aisles. Plan: Old St Peters Basilica
5.Side Aisle-one of the corridors running parallel to
the nave of a church and separated from it by an
arcade or colonnade.

Parts of Basilica
6.Crossing-the area in a church where the transept
and the nave intersect.
7.Transept-in a cruciform church, the whole arm set at
right angles to the nave. Note that the transept
appears infrequently in Early Christian churches. Old
St. Peter's is one of the few example of a basilica with
a transept from this period. The transept would not
become a standard component of the Christian church
until the Carolingian period.
8.Apse-a recess, sometimes rectangular but usually
semicircular, in the wall at the end of a Roman basilica Plan: Old St Peters Basilica
or Christian church. The apse in the Roman basilica
frequently contained an image of the Emperor and
was where the magistrate dispensed laws. In the Early
Christian basilica, the apses contained the "cathedra"
or throne of the bishop and the altar.
Parts of Basilica
9.Nave elevation-term which refers to the division of
the nave wall into various levels. In the Early Christian
basilica the nave elevation usually is composed of a
nave colonnade or arcade and clerestory.
10.Clerestory-a clear story, i.e. a row of windows in

the upper part of a wall. In churches, the clerestory
windows above the roofs of the side aisles permit
direct illumination of the nave.

• Old Saint Peter’s Basilica, first basilica of St. Peter’s in Rome, a
five-aisled basilican-plan .
• Church with apsed transept at the west end that was begun
between 326 and 333 at the order of the Roman emperor
Constantine and finished about 30 years later.
• The church was entered through an atrium called Paradise that
enclosed a garden with fountains.
• From the atrium there were five doors into the body of the
church.
• The nave was terminated by an arch with a mosaic of
Constantine, accompanied by St. Peter, presenting a model of
his church to christ.
• On the clerestory walls, each pierced by 11 windows, were
frescoes of the patriarchs, prophets, and Apostles and scenes
from the Old and New Testaments.

NEW ST.PETER’S BASILICA(renaissance period)-a

transformative analysis from Old.St.Peter’s Basilica
• NEW ST PETER’S BASILICA - the result after the plan of

rebuilding a new structure
• Construction underwent for more than a century
• Implementation of Renaissance & Baroque architecture
• dome is completed in the first 50 years of construction
• the remains are constructed and completed in the next
century

NEW ST.PETER’S BASILICA(renaissance period)-a transformative analysis from Old.St.Peter’s Basilica

• PLAN • comprises of 3 main structure • basilica, frontal terrace & the square • symmetrical balanced alignment Symbolizes a Latin Cross
•one of the arm slightly longer than the other three • comprises of the apse, transept and the nave • aisles are ended by a portico at
the east end and an apse across the west end.
DOME, PIERS & VAULTS interconnected and act as support to each other, basking the art of its era
• DOME • dome topped with a lantern • surrounded by windows flanked with Corinthian columns • highly elaborated with Roman
ordered ornaments • heavy concrete masonry laid with herringbone pattern
• PIERS • 4 solid thick piers to support the dome • stretches 25 feet down into the foundation of each single pier • 45 meters height of
Corinthian pillars • supports each side of vaults from the apse, nave and transepts
• VAULTS • series of adjoining arches which form a tunnel - barrel vault • act as the support of the roof • Supported by thick buttress
walls and abutment • spread across four arms of the Latin Cross
NEW ST.PETER’S BASILICA(renaissance period)-a

transformative analysis from Old.St.Peter’s Basilica

NEW ST.PETER’S BASILICA
Papal Altar ( Baldachin ) forms

the form of intersection BASILICA

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HISTORY OF ARCHITECTURE AND CULTURE-II

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 1

• Baroque, Rococo, Neo Classical - Definition.

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 2

What was the Renaissance?

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 4

• Spread of the newly- discovered classic literature

• The revival of classic literature produced a desire for

• Many works of Greek and Latin authors brought to light

• Italian architecture was naturally the first to be affected,

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 5

gunpowder, which had changed the whole method of warfare ;

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 6

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 7

Although the Renaissance saw revolutions in many

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 8

Right: The Vitruvian Man by Leonardo DaVinci an

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 9

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 10

Worship of style Vs nature of

The main features in the

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 13

• Effect of skilled workers - Italy, possessed skillful

• They concentrated on finished product and not

• There was an endeavor to reconcile the Gothic and

• A building observed, was regarded rather as a picture

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 14

The decorative detail, an

Baptistery gate at Florence by Ghiberti,

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 15

The Renaissance architects followed

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 16

They were the first to

Palazzo Riccardi, Florence

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 17

• Frequently built of wooden framing,

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 18

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 19

• (1377 1446) was one of the foremost architects and

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 20

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 21

The Florence Cathedral

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 23

The Florence Cathedral

The new pan demanded a larger dome

Floor plans for Florence

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 24

Floor plan Section

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 25

This is the blueprint of the construction of the Brunelleschi

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 26

The dome terminated with an oculus 7 m in diameter

The Florence Cathedral dome

• The total height of the dome and

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 28

• (1475 – 1564) Michelangelo di Lodovico Buonarroti

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 29

Michelangelo’s dome for St Peter’s

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 30

ART203 – HISTORY OF ARCHITECTURE AND CULTURE - II | Ar. NAHEEZ NAZAR | TKMCE 33