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RENAISSANCE ARCHITECTS - Coggle Diagram

- - - - Each year the Doge would visit the church on the feast day of the Redeemer, 15 July, walking across a pontoon bridge from the Doge’s Palace to the Giudecca. As a reminder of divine intervention on behalf of the city, this festival reinforced the specific connection between civic authority and religious life in Venice.
    - - In his treatise Palladio had stated that white was the colour most pleasing to God
        
        the presence of so much light was made possible because large semicircular windows are filled with clear glass. These were a version of those Palladio had studied in the ancient Roman baths in Rome. In Venice, he used them as a suitable form along the nave chapels and around the dome.
    - - One dome instead of many,
      - that focus attention on the only entrance instead of many entrancies in san marco
  - - - Hot
        air rises toward the dome, and out through the opening at the top, the air can circulate freely
        
        This combination of Ionic column and wall recalls a type of ancient temple in antis. Like 4 temple fronts
- - - - evoked architectural models, including the Holy Sepulchre, Santo Stefano Rotondo, the baptistery in Padua (13th century
      - The dome over the central space evoked the baptistery of San Giovanni
      - terracotta reliefs and restricted to only a small part of the chapel in lunettes (half-moon shaped architectural space) and in pendentives (constructional device permitting the placing of a circular dome) containing scenes of saints and the Medici coat of arms
      - a memorial chapel for the powerful Medici family
      - rich materials and ornament such as bronze on the doors and sculpture
      - the absence of decoration on much of the dome and wall surfaces
      - Brunelleschi’s architecture synthesized local, Tuscan architectural traditions in the use of a limited colour palette of grey-green stones against white stucco walls, with a new sensibility toward ornamental details.
      - A series of Corinthian pilasters along the lower storey support arches which in turn support the dome over the entire square of the ground plan.
      - As a funerary chapel for Giovanni de’ Medici and his wife, the cubical base was the more earthly of forms
      - The dome itself had twelve ribs, and thus twelve oculi (lights), referring perhaps to the twelve apostles.
- - - - To the street, the exterior is made of alternating strips of masonry and brick. The convent uses wood and less expensive materials.
      - The mosque and courtyard is built from smooth ashlar stone, marble pavements, lead on the roofs (reserved for buildings associated with the royal court)
      - and the richest decoration on the interior. Sinan uses both form and materials to mark the transition from public space to the sacred interior.
    - - The dome rises above the rectangular ground plan, supported by piers pulled into the lateral walls and supported on the exterior by smaller domes and towers.
      - One hundred windows control the flow of light into the interior, highlighting the unity of the central space.
- - - - the Villa Madama is experienced as a sequence of
        spaces and rooms.
        
        When Raphael died in 1520,much of the villa remained without decoration and the project was left to Guilio Romano
        
        The ornament imitated what Renaissance artists had seen in in the remains of ancient buildings, and called alla grottesca
        
        The work was done in stucco, a revival of an ancient technique
        
        The grouping of arches and niches follows a triumphal arch
        pattern.
    - - A vast complex, it may have been intended as a great reception residence for foreign dignitaries coming into the city
- - - - The ornamental system emphasizes the lightness of the structure
        
        the books were chained to the desk for security
        
        The pilasters on the short end walls, used in a triumphal arch rhythm, continue in the divisions of the ceiling
        
        The architectural
        elements of the side walls, the pilasters and window panels, begin just above the height of the desk, integrating furniture and ornament within the same system.
    - - The contrast between the oval shapes of the centre and the rectilinear side flights
        
        mark
        off this space as a zone of transition
- - - - Giulio Romano exploited the full expressive potential of
        rustication
        
        The building amazed and delighted its owner and his guests. The rustication on the exterior and along the walls of the courtyard is unexpected and sophisticated.