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Renaissance architecture in general - Coggle Diagram
Renaissance architecture in general
ARCHITECT = SCHOLAR WITH deep knowledge of ancient cultures
the Pantheon
was a powerful model for Renaissance architects, especially those wishing to evoke the glory of the imperial past
The most recognizable element of the Pantheon was its vast and intact dome with an oculus at the centre, open to light and the elements.
Printing invented around the middle of the 20th century changed access to the architectural information
The Justinian church of Hagia Sophia (dedicated 537) in Constantinople (now Istanbul) was described at the time as having a dome that was not supported from below but held up by
a great golden chain from heaven. A great dome was at the centre of all the designs for the new St Peter’s, given Julius II’s desire for the Roman Church to triumph over all adversaries, past, present, and future.
Vitruvius, 10 books
all buildings must satisfy the three
requirements
firmitas (strength)
utilitas (utility)
venustas
(beauty)
architecture as an equivalent to the human body
Bodies and buildings both had clearly definable parts that existed in relationship to other parts. Although buildings were not ‘alive’, they were a kind of organism with interrelated elements, and the power to interact with its surroundings.
Orders
Alberti, following Vitruvius, had described each of the classical
orders as individuals
Each section begins with a review of Vitruvius, but then goes on to present the author’s own opinions on the best practices in each area
Vitruvius had discussed three orders, Doric, Ionic,
Corinthian
Vitruvius offered not an explanation of ancient building, but another parallel source, a textual authority that
had to be reconciled (and often with difficulty) with the surviving
evidence.
Buildings were richer sources of information
Sebastiano Serlio (1537): fi ve Roman orders (Tuscan, Doric,
Ionic, Corinthian, and Composite) were presented as a unified system
