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Gothic architecture analysis report
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Leon Battista Alberti designed St. Andrea in Mantua, Italy and construction began on St. Andrea shortly after he died in 1472. He had an assist that carried out his ideas for him. St. Andrea is mostly constructed of brick because Alberti promised a large and economical church. The only stone used in St. Andrea is for the capitals and bases. The floor plan of St. Andrea is a Latin cross. Unlike most churches, St. Andrea does not have any side aisles, but has alternating large and small spaces off to the sides where the side aisles would be. These large and small spaces are based off of the Roman prototypes like the Baths of Diocletian and the Basilica of Constantine. The larger spaces are used for chapels, which have transverse barrel vaults …show more content…
Andrea is similar to that of St. Sebastiano, Alberti’s previously designed building. The façade has a classical triumphant arch interlocking with a classical temple front. This temple front consists of a shallow triangular pediment carried by four large pilasters on high bases. Immediately below the pediment, the triumphal arch has large round-headed openings flanked with pilasters and its own entablature behind the temple’s front pilasters. There is a small opening at ground level between the two pilasters followed by another large round-headed opening and a smaller doorway. This repetition of small to large matches the inside spaces of small to large. Throughout the design of St. Andrea, Alberti uses Roman prototypes on the inside and outside, but he does not allow himself to be bound by …show more content…
Andrea was and still is used for church services today. It is the largest and grandest church Alberti built and part of the reason was to be able to accommodate all of the people that came for the major celebrations. This is why the nave of the church is so large compared to others. Another architectural element that corresponds to the use of the church is the main barrel vault. It sets up a fantastic procession way for the Holy Blood and celebration for Christ’s victory over death. The chapels off to the sides give people a place to pray by themselves. Today, St. Andrea is used not only as a church, but is also used for
The churches are built almost entirely of stone. Built on a symmetrical concept, they both have three portals as an entrance to the nave. Symmetrical towers rise several stories above the left and right portals. It is important for one to recognize that the stone ribbed vaulted ceilings were added on after the
When entering the Basilica one intakes the view of the catenary arches with light figures hanging down above them as well as beautiful Main Alter with the original paintings and statuary. The first thing at the door of the Basilica is a large black that holds the holy are. On the left there is a gothic style baptisrty The walls of the Basilica are white with several paintings hanging from them. On the right midway though the Basilica stand the Christ of King Shrine against the wall. On the left side midway though the Basilica the entryway to the chapel in which has the “Our Lady Bethlehem Shine”. The Our Lady Bethlehem Shrine is very important to the mission because, “thousands of pilgrims come every year and pray tour Lord through her intercessions.” At the foot of the alter the gave is Junipero Serra is placed, making this Basilica so significant. To the right of the alter there is a glass in casement with the relics of the coffin of blessed Fray Junipero Serra. “The pieces of the original casket which fallen to decay were set aside for safekeeping and now exhibited here in the reliquary.” The exit of the Basilica is on the left hand site at the very front near the alter. This exit then leads to the Mission’s Main
...understandable of making use of perfect architectural form as geometry, in terms of believe and as well as architecture. His design was straight to the point , making use of geometrical shape and it’s magnificent meaning which itself emphasises a perfect form and perfect centre point at its middle, which itself is a powerful remark on the focus point of the building (crucifixion spot at Tempietto and the pulpit at the Basilica) this achievement is more effective rather than using of coloured and expensive material ,gold ,sculpture ,painting ,large windows and light or other architectural elements which Baraque architecture used to bring about the attraction and highlight it’s point in the building.(the Alter of Grace at Church of Vierzehnheiligen)
Castex, Jean. Architecture Of Italy. Greenwood Publishing Group, 2008. eBook Collection (EBSCOhost). Web. 5 Feb. 2012.
After walking inside and trying to first experience, the church, and all its beauty and ornateness, I began examining the floor plan and elevations of the cathedral. Grace Cathedral was build in a gothic style, which it represents in its architecture inside and out. There were three huge rose windows. One at the very top of the main entrance and one on either end of the transept. There wer...
In this great time known as the Renaissance, many pieces of art that reflect humanism were created, but only one stands out like a sore thumb, Brunelleschi's Duomo di Santa Maria del Fiore! Since the Duomo is based off Roman architecture, many innovative ideas were used to create it, and because it was built to be enjoyed, not worshipped like the past pieces of religious art, the Duomo is, by far, the best creation to represent the
Teresa is measured to be Bernini’s most contentious and attractive monument. This sculpture was particularly notorious since a saint has never been represented in the state of sensual ecstasy, but St. Teresa labeled her involvement in an stimulating way, “ The pain was so severe that it made me utter several moans. The sweetness caused me by this intense pain is so extreme that one cannot possibly wish it to cease.” Bernini was permitted to generate such a provocative bit of the sculpture by the way St. Teresa communicated about her involvement, “The sensuality of the piece is directly inspired by St. Theresa’s own writings, in which she describes her mystical experiences in overtly erotic terms.” The expression of St. Teresa is recognized to be the greatest attractive face to be fashioned in a sculpture. It is acknowledged to be that the angle’s appearance is flawlessly proportioned and each features of the expression is seamlessly situated and designed. Bernini poises St. Teresa’s impeccable magnificence and carnal ecstasy to accomplish the essence of Baroque art. This sculpture is notorious to be very Baroque since it portrays the maximum histrionic point in the saint’s lifetime and accommodates to the conception that God also means
Paolucci, Antonio. The origins of Renaissance art: the Baptistery doors, Florence. New York: George Braziller, 1996.
The Pazzi chapel marked a momentous return to classical rudiments. It has a central dome "reminiscent of the lines of Rome's Pantheon" (Cunningham 274). It has an oculus just like the Pantheon. Furthermore, although smaller in scale, the dome of the chapel is also hemispherical in shape and austere in design. Likewise, the chapel's twelve-ribbed dome approached the floor below it in the same respect as the Pantheon; completed after Brunelleschi's death, the chapel dome caps a severe rectangular base in the same way the Pantheon dome covers an ascetic circle. (Tractenberg). The chapel's dome, however, is itself capped with a cylindrical cupola "with delicate lantern" added in 1462 (Italy Field Study). Although they differ in base, both domes were framed according to circles. The image above illustrates the resemblance between the Pantheon's and Pazzi chapel's dome. The image on the left is the architectural plan of the Pazzi Chapel. The one on the right is that of the Roman Pantheon. If one is to draw a near perfect circle that fills the interior of the dome, as...
In the Florence Cathedral, Florence, Italy, there is a cathedral church whose octagonal dome, built without the aid of scaffolding, was considered the greatest engineering feat of the early Renaissance. Dedicated to Santa Maria del Fiore, Our Lady of the Flower, it is also known as the Duomo, after the Italian word for cathedral. Created by many great Early Modern artists, this piece of architecture is a perfect example the Renaissance style. We can come to a better understanding of why this is so by exploring what the characteristics of the Renaissance “style”. To understand the properties of the Florence Cathedral that fit the Early Modern style, I will begin with a description and its history. The cathedral's architectural style, although greatly influenced by French Gothic elements remained distinctively Florentine, especially the geometric patterns of red, green, and white marble on the building's exterior. Construction of the cathedral began in 1294 on the site of a Christian church founded in the 6th or 7th century and continued until 1436. Several celebrated Italian architects were involved in the project, including Giotto, Arnolfo di Cambio, Andrea Orcagna, and, most notably, Filippo Brunelleschi, who was responsible for designing and building the dome. The cathedral's exterior is ornamented with sculpture and mosaics by Italian artists Donatello, Nanni di Banco, and Domenico Ghirlandaio, among others. The building's stained-glass windows are the work of the Italian architect and artist Lorenzo Ghiberti, and the interior is decorated with sculpture and fresco paintings by several Renaissance masters. Construction of the campanile (bell tower), situated to the right of the entrance to the Duomo, was begun by Giotto and completed according to his plans in 1359, after his death. Nearly 278 ft high, the campanile is embellished with red, green, and white marble panels of relief sculpture by Italian artists Andrea Pisano and Luca della Robbia, and niches with sculpted figures by Donatello and other masters. Facing the cathedral and campanile is a smaller, octagonal structure, the Baptistery of San Giovanni, noted for its gilt-bronze doors, elaborately worked in high relief by Andrea Pisano and Lorenzo Ghiberti. With that background information about the cathedral, one question comes to mind: what is it that makes the Renaissance style distinct? Renaissa...
Originally a Gothic town hall, the Palazzo della Ragione or Basilica (commissioned in 1549), was on the verge of crumbling and Palladio won a competition to redesign it. His answer was to encase it on three sides with a two-storey loggia that provided reinforcement and transformed the exterior with classic columned arcades on two levels. Arches were placed between pilasters, Doric on the lower level, Ionic above, supporting entablatures. In each bay, the arch rests on small columns placed away from the larger pilasters with a rectangular gap in between - now known as the ‘Palladian motif’.
The Façade, designed by the architect Carlo Maderno, “Is 114.69 metres wide and 48 metres high, and has an order of Corinthian columns and pilasters, over which lies an imposing cornice with a central tympanum, crowned by a balustrade with thirteen statues (nearly 6 metres high).” There can be found an inscription on the entablature stating that the Façade was built under Pope Paul V Borghese. In the lower order there are five entrances to the atrium, over which are nine windows, three of which possessing a balcony. The main window, the “Benediction Loggia”, where the Pope gives his blessing upon his election, and at Christmas and Easter. When Maderno added the nave, which is the main body of the church,
The Italian Architects of the seventeenth century faced a huge volume of orders to carry out. The most required orders were churches. (Bazin 15) When Urban VIII became pope he asked Bernini to design a baldachino, also known as a canopy, to define the altar area. Bernini built something that was half sculpture and half architecture that had four columns that were very detailed. The columns were designed with spiraling grooves and vines made of bronze. The spiraling and decorative effects were made to symbolize the union of the new and Old Testaments, the vine of the Eucharist climbing the columns of the temple of Solomon. The Eucharist was the Christian ceremony commemorating the Last Supper. The elements of the Ionic and Corinthian orders are at the top of the columns. Angels are along the entablatu...
Leon Battista Alberti can be considered one of the most wonderful architects in the Renaissance. Everyone knew who he was and that he was a man in which he believes architecture represented only one activity among many. He was considered to be one of the great scholars at that time. He was born in Genoa in 1404 where he was the inadmissible son of an important Florentine merchant family. Alberti was given a great education first at the University of Padua where in his early age he has attained to the mastery of Greek and Latin, and then later in his scholar career, he was at the University of Bologna where in which he studied law. He began interest in architecture in the 1440s during the last years of Brunelleschi’s lifetime and it was probable then in which he began to compose his greatest theoretical work. Alberti have practiced all three arts however there was no certain paintings or sculptures on him and his reputation as an artist rests equally on his writings and on the buildings. (Murray pgs.45-47)
The style of Baroque architecture is say to be overwhelm, in other word, heavy and powerful. In order to bring out the sense of solemn, holiness, it is presented in the form of massiveness and movement. The St. Peter’s Basilica, completed in 1626, designed by Donato Brama...