Week 7:
Medici Chapel
- created because the Medici ask him to create a chapel in their hometown
- Michelangelo was always thinking big—usually so big that it was a project that needed reduced in order to be completed.
- smaller alter because there was only one large alter in the church (in the auditorium)
- allegorical- using figures to apply certain ideas from their ruling
- in 1563, statues that were partially completed began to be added to the alter wall in the small chapel (the alter that Michelangelo did not complete)
- use of segmental pediments (part of a circle–very shallow) also seen early on in ???
- use of paired pillasters
- a lot of architectural detail in his studies (very particular sketches)
- Michelangelo inserts coffers into the dome instead of showing the ribs so much (looks more prestigious, less like an umbrella)
II. Michelangelo: Changing the Rules
Florence, San Lorenzo
Popes Leo X and Clement VII Medici
Facade, 1515-1520
New Sacristy (“Medici Chapel”), 1519-1534
- created because the Medici ask him to create a chapel in their hometown
- Michelangelo was always thinking big—usually so big that it was a project that needed reduced in order to be completed.
- smaller alter because there was only one large alter in the church (in the auditorium)
- allegorical- using figures to apply certain ideas from their ruling
- in 1563, statues that were partially completed began to be added to the alter wall in the small chapel (the alter that Michelangelo did not complete)
- use of segmental pediments (part of a circle–very shallow) also seen early on in ???
- use of paired pillasters
- a lot of architectural detail in his studies (very particular sketches)
- Michelangelo inserts coffers into the dome instead of showing the ribs so much (looks more prestigious, less like an umbrella)
Laurentian Library, 1523-1571
· Michelangelo takes all Brunelleschi’s components and bends them to his will
· the natural lighting streaming through a long row of windows that appear positively crammed between the order of pilasters that march along the wall
· It is an intimidating staircase, made all the more so because the rise of the stairs at the center is steeper than at the two sides, fitting only eight steps into the space of nine.
· But Michelangelo has chosen to use paired columns, which, instead of standing out boldly from the wall, he has sunk deep into recesses within the wall itself. In San Lorenzo’s church nearby, Brunelleschi used little scrolling console brackets to break the strongly horizontal line of the course above the arcade. Michelangelo has borrowed Brunelleschi’s motifs and stood each pair of sunken columns on a pair of twin console brackets.
Pope Paul III Farnese
- initiator of the council of Trent
Mannerism
- No clear description of the planes, rather a telescoping of space.
- AVOIDING the psychological part of this when it comes to architecture
- many of the ideas are used to describe painting—so how does it translate to architecture?
The problem of Mannerism and its Application to Architecture: Mid-Late Sixteenth-Century Architecture in Rome, Florence and N. Italy:
- Mannerism is often associated with post-Italian wars phenomenon
- having achieved a classical idea of architecture, architects were confused about where to go (looking at classical theory) while staying “novel”— BUT imitation is as valued as invention during this time. Too much invention was a problem at the time because it broke too many of the rules of classical architecture
- Instead of inventing from the head, they searched for examples that weren’t common.
Baldassare Peruzzi
- contemporary architect
Rome, Palazzo Massimi alle Colonne, ca. 1535
- curved to the contour of the road
- plan was impossible to regularize in any way
- facade shows an impression of unity which is very different from the rooms behind it (looking at the floor plan)
- small windows read like attic windows (very different from windows on the first piano nobile)
- we can read four stories, but it is not reading like the typical piano nobile
- very heavy cornice above first story, very heavy cornice on top, but nothing in between to give us any idea of the floor divisions (it doesn’t divide itself into stories, so it becomes a surface)
- treatment of the columns is rather different—the spacing illustrates an increase towards the center (leading eye to the entrance)
- texture stays the same throughout the entire building (like a grid that objects are placed onto)
Jacopo Barozzi da Vignola (1507-1573)
- more of a contemporary architect
- one of several architect theorists of the second half of the 16th century—so he is thinking about Vitruvius, Classical Architecture, and positioning himself as correcting previous artists
Rome, S. Andrea in Via Flaminia, ca.1550
- looks like the Pantheon
Pope Julius III (family name- Ciocchi Del Monte)
- idea of a Pope who needs a more “villa-like” setting outside of the condensed area of the city Rome, Villa Giulia, 1551-1555
with Ammanati and Vasari
- seen as an exemplary piece of architecture particularly because of the garden architecture
- elements of the garden represent an ancient bathing structure
- looking at the plan…
- some relationship to the thinking behind villa madonna
- sequence and longitudinal axis with the entrance
- reminiscent of the Belvedere Court (which was theoretically a walkway) through its emulation in the garden…wall walkway as a part of the garden space
Caprarola, Farnese Palace, ca.1530, 1556-1553
First design by Peruzzi and Antonio da Sangallo Ygr.
- has a very elaborate entryway from the town (space to drive your coach into)
- not a typical square villa
- it looks very grand, it was modeled after a fort
Giorgio Vasari (1511-1574)
Florence, Uffizi courtyard, 1560-1574
Buontalenti, doorway
- classic, broken pediment (considered an abuse of architecture in a previous time) looks like the statue has crashed into the pediment—creates a very eccentric motif (a key element to mannerism)
Michelangelo
Rome, Porta Pia, 1561
- inserted into the gates of Rome—acted as a marker between urban Rome and the countryside
- considered a work that exemplifies mannerist architecture
- The frames in the windows are very similar to the frames we’ve seen used by Peruzzi (i.e. draped stone around oculus, breaking of a segmented pediment into a triangular pediment)
- Sever layers (pilaster over buniato) suggesting further planes of architecture
- Punctuation with obelisks on the ends, little ballistry motifs
Pirro Ligorio
Rome, architect of St. Peter’s
Belvedere Courtyard, “Nicchione,” ca.1561
Casino Pius IV, 1560-1563
Mannerism
- No clear description of the planes, rather a telescoping of space.
- AVOIDING the psychological part of this when it comes to architecture
- many of the ideas are used to describe painting—so how does it translate to architecture?
The problem of Mannerism and its Application to Architecture: Mid-Late Sixteenth-Century Architecture in Rome, Florence and N. Italy:
- Mannerism is often associated with post-Italian wars phenomenon
- having achieved a classical idea of architecture, architects were confused about where to go (looking at classical theory) while staying “novel”— BUT imitation is as valued as invention during this time. Too much invention was a problem at the time because it broke too many of the rules of classical architecture
- Instead of inventing from the head, they searched for examples that weren’t common.
Baldassare Peruzzi
- contemporary architect
Rome, Palazzo Massimi alle Colonne, ca. 1535
- curved to the contour of the road
- plan was impossible to regularize in any way
- facade shows an impression of unity which is very different from the rooms behind it (looking at the floor plan)
- small windows read like attic windows (very different from windows on the first piano nobile)
- we can read four stories, but it is not reading like the typical piano nobile
- very heavy cornice above first story, very heavy cornice on top, but nothing in between to give us any idea of the floor divisions (it doesn’t divide itself into stories, so it becomes a surface)
- treatment of the columns is rather different—the spacing illustrates an increase towards the center (leading eye to the entrance)
- texture stays the same throughout the entire building (like a grid that objects are placed onto)
Jacopo Barozzi da Vignola (1507-1573)
- more of a contemporary architect
- one of several architect theorists of the second half of the 16th century—so he is thinking about Vitruvius, Classical Architecture, and positioning himself as correcting previous artists
Rome, S. Andrea in Via Flaminia, ca.1550
- looks like the Pantheon
Pope Julius III (family name- Ciocchi Del Monte)
- idea of a Pope who needs a more “villa-like” setting outside of the condensed area of the city Rome, Villa Giulia, 1551-1555
with Ammanati and Vasari
- seen as an exemplary piece of architecture particularly because of the garden architecture
- elements of the garden represent an ancient bathing structure
- looking at the plan…
- some relationship to the thinking behind villa madonna
- sequence and longitudinal axis with the entrance
- reminiscent of the Belvedere Court (which was theoretically a walkway) through its emulation in the garden…wall walkway as a part of the garden space
Caprarola, Farnese Palace, ca.1530, 1556-1553
First design by Peruzzi and Antonio da Sangallo Ygr.
- has a very elaborate entryway from the town (space to drive your coach into)
- not a typical square villa
- it looks very grand, it was modeled after a fort
Giorgio Vasari (1511-1574)
Florence, Uffizi courtyard, 1560-1574
Buontalenti, doorway
- classic, broken pediment (considered an abuse of architecture in a previous time) looks like the statue has crashed into the pediment—creates a very eccentric motif (a key element to mannerism)
Michelangelo
Rome, Porta Pia, 1561
- inserted into the gates of Rome—acted as a marker between urban Rome and the countryside
- considered a work that exemplifies mannerist architecture
- The frames in the windows are very similar to the frames we’ve seen used by Peruzzi (i.e. draped stone around oculus, breaking of a segmented pediment into a triangular pediment)
- Sever layers (pilaster over buniato) suggesting further planes of architecture
- Punctuation with obelisks on the ends, little ballistry motifs
Pirro Ligorio
Rome, architect of St. Peter’s
Belvedere Courtyard, “Nicchione,” ca.1561
Casino Pius IV, 1560-1563
Michelangelo in Florence
- election of Pope Leo X
- artist gaining reputation of a premier artist
- San Lorenzo got dropped
- Medici ask Michelangelo to build them a new chapel- Medici Chapel
- Michelnagelo tasked with sculpting the tombs as well as creating the architecture of the chapel
- Michelangelo did not create the altar pieces in the tombs, but did create the tombs themselves
- He always made the task more difficult and elaborate than it could be to complete
- Creates one elaborate sarcophagus
- symbolic representation of the Medici
- 1524-26 tombs
- 1531-33 sculptures.
- Medici chapel 1519-1534
- utilizes motifs that are important
- 1. frames for niches and segmented pediments (half circles)
- 2. paired pilasters
- 3. elaborate architectural elements
- altar in chapel left very plain
- kneed brackets hanging in the air to act as supports for architectural elements
- Michelangelo’s complexity in architecture is like nothing seen before. Brings up discussions in mannerism
- updates Brunelleschi dome- inserts cauffers into dome instead of ribs and has oculous- like Parthenon
Laurentian Library, San Lorenzo, Florence, vestibule, 1525 ; Laurentian Library, Reading Room, San Lorenzo, Florence 1525 Michelangelo
- there was a library in the monestary. 1523-34 working on library. continues till 1549
- interial ceremonial stairs to library. they were functional as well. completed by Florentine architect ? using Michelangelo’s sketches. Pope ‘s library. not just practical, but ceremonial spaces. Pope walks up center, cardinal walks up side steps
- books on carols- chained to desks
- problems with 2nd floor library- weight of books and desks there had to be structural support for the floor underneigth. Another problem was the light getting into the room to read
- vestibule next to library
- columns in a niche Mannerist fantasy- weakening the wall by putting paired columns on a cornice recessed into the wall.
- architecture becomes more sculptural
- the elements of the classical vocabulary have been somewhat brutally treated and recombined to give a series of forms which at that time were unique (Mannerism) meaningless blocks of marble, bottom of the pediment is cut away, niche is cut back in space
- Michelangelo moved from Florence, to Rome, leaving the Medici chapel and Laurentian Library incomplete. Library completed by Amannati
Pope Paul III
- reformation in North
- period of aftermath of Italian wars
- Grand Cardinal- Cardnial Allessandro- most important cardinal in Rome
- comissions Michelangelo
Palazzo dei Conservatori, 1564-84, Rome, on Capitoline Hill
- “Giant Order”: a pilaster/column which runs through two whole storeys.
- pilasters stand on high bases but they serve to tie together the two storeys of the building (179)
- Straight entablatures instead of arches on bottom floor
- relationships to different elements of architecture are increasingly complex and taken away form simple proportions that would have been used by a fifteenth century architect.
Capitoline Hill, 1538, Rome
- politcal center of Rome capitoline hill 1538 when Michelnangleo is commissioned to make base for statue of Marcus Aurelius- first christian emperor. statue was the symbol of the Christian empire was therefore of great importance in redesigning of Capitoline Hill.
- Michelangelo starts plans in 1546, but dies, and then Giacomo della Porta took over changes to the plans
- begins project by working on stairs 1550. horse tamers at top of steps on either side.
- oval with trapaziodal arrangement in the courtyard
- stairs are actually more like a ramp. easier for vehicles and horses for precessions up the stairs to capitoline hill
- Florence- works with florentine materials an dutilizes motifs that have familiarity that has history with architecture he grew up with
- Rome- vocabulary of working with graduer of ancient city
- two story palace type with monumental columns unifying both levels
- palace invites you to walk into covered space from elements
- merger of external and internal space
- ballasters creating balacony looking element with scultpures on top of each ballaster. this lightens up heavy cornice
Palazzo Farnese, Rome, Antonio da Sangallo the Younger and Michelangelo, 1517-1589
grandest palace – large and magnificent
IMPORTANCE: establishes the next main building type for Rome
- enlargement of palace
- two piano nobiles
- Michelangelo created the strongly projecting crowning cornice (classical in detail and was raised some feet higher than Antonio da Sangallo had intended, in order to avoid the appearance of crushing the top storey. The great central window with the Farnese coat of arms above it is also Michelangelesque because it is reduced in size and pushed deeper into the surface of the wall, a inverted emphasis (example of Mannerism).
- commissioned by Cardinal Farnese, who became Paul III
- credit of building goes to Antonio di Sangallo
- utilizes the straight lentel rectangular windows with brackets, cornice supporting first piano novile that supports alternating pediment windows, triangular pedimented windows on third story with arched windows.
- cornice is great detail that gives tribute to Farnese Family
- courtyard- tuscan, ionic, corinthian columns
- solved corner- 2 piers ad half columns
Madonna of the Long Neck-Parmiginino
example of Mannerism in painting (unusual, defying the classical norm)
Mannerism– usually describes paintings, not sculpture. response after High Renaissance. having achieved classical architecture in buildings, where do architects go to make new inventions. Too much invention was a problem for people in the Renaissance because it broke so many rules, imitation was better. Michelangelo was on the edge of too inventive.
Palazzo Massimi alle Colonne, Rome, created by Peruzzi, Baldassare 1535
- contemporary architect
- dies 1536
- palace goes along the curve of a road
- ambiguity associated with Mannerism
- small windows read like attic windows
- cornice very heavy and there are no repetitions of another cornice. This doesn’t divide the building into stories
- The columns are unevenly spaces to create a central passageway into the building.
- absence of arches
S. Andrea in via Flaminia 1550, Rome, Giacomo Vignola.
- one of the several architect theorist along with Palladio who wrote a book about…
- looks like the Pantheon
- circle drum is an oval. no longer perfect geometrical dome.
Villa Giulia 1551-1555, Giacomo Vignola, 1551-55
- Suberban villas built for pope julius III
- Built by Giacomo Vignola, Bartolomeo Ammanti, and Giorgio Vasari
- Mannerist architecture because of garden architecture.
- Ancient bathing structure known as nefam?
- hemicycle shaped building two stories with garden courtyard similar to Belvedere Court (small recreation for Pope).
Villa Caprarola 1530-1560, Giacomo Vignola, Caprarola, Italy.
- full on summer stay
- not a typical square villa, modeled after a fort
- stables have irregular brumante stone
“Corridoro”, Uffizi Palace, Florence. 1560-74, Giorgio Vasari
- created by Giorgio Vasari
- doorways of the Uffizi
- Buontalenti Doorway- sculptor who worked with Vasari. Many layers. eccentric looking motif. Key element associated with mannerism
Porta Pia
- many layers and plains of architecture.
- strange draped form
Belvedere Court, Nicchione, Rome, Ligorio, Pirro, 1560
- large niche
reminiscingtherenaissance 