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who introduced the Early Renaissance style to Milan and the High
Santa Maria presso San Satiro, Milan, ca. 14821486
Renaissance style to Rome, where his most famous design was St.
Santa Maria delle Grazie (cloister and apse); Milan, 14921498
Peter's Basilica.
Palazzo Caprini (also known as Raphael's House), Rome, started
[edit]Urbino and Milan
around 1510 (demolished in the 17t century)
Bramante's architecture has eclipsed his painting skills: he knew the San Pietro in Montorio (also called the Tempietto); Rome, 1502
painters Melozzo da Forl and Piero della Francesca well, who were Santa Maria della Pace (cloister); Rome, 1504
interested in the rules of perspective and illusionistic features St. Peter's Basilica, Rome, design 1503, ground breaking, 1506
in Mantegna's painting. Around 1474, Bramante moved to Milan, a city Cortile del Belvedere, Vatican City, Rome, 1506.
with a deep Gothic architectural tradition, and built several churches in
the new Antique style. The Duke, Ludovico Sforza, made him virtually
Plans for St Peter's Basilica
his court architect, beginning in 1476, with commissions that
surmounted by a dome.
[edit]Career in Rome
become Pope Julius II. For Ferdinand of Aragon and Isabella of Castile
engaged Bramante for the construction of the grandest European The dome, as planned by Bramante
architectural commission of the 16th century, the complete rebuilding
ofSt Peter's Basilica. The cornerstone of the first of the great piers of Antonio da Sangallo the Elder
the crossing was laid with ceremony on 17 April 1506. Madonna di San Biagio, Montepulciano, 1518 consecrated 1529[1]
Antonio da Sangallo the Elder (c. 1453 December 27, 1534) was In a demonstration of Michelangelo's unique standing, he was the first
an Italian Renaissance architect who specialized in the design of Western artist whose biography was published while he was alive.[2]
[edit]Biography
Michelangelo worked on many projects that had been started by other
Antonio da Sangallo was born at Florence. men, most notably in his work at St Peter's Basilica, Rome.
Despite making few forays beyond the arts, his versatility in the
Two of his best-known works, the Piet and David, were sculpted
the ceiling and The Last Judgment on the altar wall of the Sistine
Peter's Basilica. Michelangelo transformed the plan, the western end The five orders, engraving from Vignola'sRegola delle cinque ordini
simply called Vignola) (1 October 1507 7 July 1573) was one of the Alessi);
great Italian architects of 16th century Mannerism. His two great Church of Sant'Andrea in Via Flaminia, Rome, the first church to
masterpieces are the Villa Farnese at Caprarola and the have an oval dome, which became a signature of the Baroque.
Jesuits' Church of the Ges in Rome. The three architects who spread Giacomo della Porta
Romagna). [edit]Biography
He began his career as architect in Bologna, supporting himself by Della Porta was influenced by and collaborated with Michelangelo,
painting and making perspective templates for inlay craftsmen. He and Giacomo Barozzi da Vignola, his teacher of architecture. After
made a first trip to Rome in 1536 to make measured drawings 1563 he carried out Michelangelo's plans for the rebuilding of
of Roman temples, with a thought to publish an illustrated Vitruvius. the Campidoglio or Capitoline Hill's open spaces where he completed
Then Franois I called him toFontainebleau, where he spent the years the faade and steps of Palazzo Senatorio, and
1541 1543. Here he probably met his fellow Bolognese, the the Cordonata capitolina or the ramped steps up to the Piazza del
architect Sebastiano Serlio and the painterPrimaticcio. Campidoglio.
From 1564 Vignola carried on Michelangelo's work at St Peter's After the death of Vignola in 1573, he continued the construction of Il
Basilica, and constructed the two subordinate domes according to Ges, the mother church of the Jesuit order, and in 1584 modified its
Michelangelo's plans. faade after his own designs.
Giacomo Barozzi died in Rome in 1573. In 1973 his remains were From 1573 he was in charge of the ongoing construction of St. Peter's
reburied in the Pantheon, Rome. Basilica, and later, in collaboration with Domenico Fontana, completed
Villa Giulia for Pope Julius III, in Rome (1550-1553). Here Vignola the Fountain of Neptune, Rome and La Fontana del Moro in the Piazza
was working with Ammanati, who designed the nymphaeum and Navona.
Chiesa del Ges, Rome, the mother church of the Jesuit order, brother of sculptor Stefano Maderno, but this is not universally agreed
which would become a source for Baroque church facades in the upon.
17th century;
[edit]Biography
Born in Capolago, Ticino (an Italian-speaking canton of Switzerland), outshining other sculptors of his generation, including his
Maderno began his career in the marble quarries of the far north, rival, Alessandro Algardi. His talent extended beyond the confines of
before moving to Rome in 1588 with four of his brothers to assist his his sculpture to consideration of the setting in which it would be
uncle Domenico Fontana. He worked initially as a marble cutter, and situated; his ability to be able to synthesise sculpture, painting and
his background in sculptural workmanship would help mold his architecture into a coherent conceptual and visual whole has been
architecture. His first solo project, in 1596, was an utterly confident and termed by the art historian, Irving Lavin, the unity of the visual
mature faade for the ancient church of Santa Susanna (15971603); arts.[1] A deeply religious man, working in Counter Reformation Rome,
it was among the first Baroque faades to break with Bernini used light as an important metaphorical device in the
the Mannerist conventions that are exemplified in the Ges. The perception of his religious settings; often it was hidden light sources
structure is a dynamic rhythm of columns and pilasters, with a that could intensify the focus of religious worship,[2] or enhance the
protruding central bay and condensed central decoration add dramatic moment of a sculptural narrative.
The Santa Susanna faade won the attention of Pope Paul V, who in Borromini and the painter and architect, Pietro da Cortona. Early in
1603 appointed him chief architect of St Peter's. Maderno was forced their careers they had all worked at the same time at the Palazzo
to modify Michelangelo's plans for the Basilica and provide designs for Barberini, initially under Carlo Maderno and on his death, under
an extended nave with a palatial faade. The faade (completed 1612) Bernini. Later on, however, they were in competition for commissions
is constructed to allow for Papal blessings from the emphatically and fierce rivalries developed, particularly between Bernini and
enriched balcony above the central door. This forward extension of the Borromini.[3] Despite the arguably greater architectural inventiveness of
basilica (which grew from Michelangelo's Greek cross to the present Borromini and Cortona, Berninis artistic pre-eminence, particularly
Latin cross) has been criticized because it blocks the view of the dome during the reigns of popes Urban VIII (162344) and Alexander
when seen from the Piazza, often ignores the fact that the approaching VII (16551665), meant he was able to secure the most important
avenue is modern. Maderno would not have had liberties to design this commission in Rome of the day, St. Peter's Basilica. His design of
building as much as in other structures. the Piazza San Pietro in front of the Basilica is one of his most
the Chapel of St Lawrence in San Paolo fuori le Mura and the Cappella Bernini and other artists fell from favour in later neoclassical criticism of
Caetani in Santa Pudenziana. the Baroque. It is only from the late nineteenth century that art
was an Italian artist who worked principally in Rome. He was the Bernini's architectural works include sacred and secular buildings and
leading sculptor of his age and also a prominent architect. In addition sometimes their urban settings and interiors.[9] He made adjustments to
he painted, wrote plays, and designed metalwork and stage sets. existing buildings and designed new constructions. Amongst his most
well known works is the Piazza San Pietro (165667), the piazza and
A student of Classical sculpture, Bernini possessed the unique ability
colonnades in front of St Peter's and the interior decoration of the
to capture, in marble, the essence of a narrative moment with a
Basilica. Amongst his secular works are a number of Roman palaces:
dramatic naturalistic realism which was almost shocking. This ensured
following the death of Carlo Maderno, he took over the supervision of
that he effectively became the successor of Michelangelo, far
the building works at the Palazzo Barberini from 1630 on which he traditions of Florence, followed by his last hectic and triumphant 12
worked with Borromini; the Palazzo Ludovisi (now Palazzo years in Rome, working for two Popes and their close associates.[5]
Montecitorio)(started 1650); and the Palazzo Chigi (now Palazzo Chigi- Architecture
Odescalchi) (started 1664).
After Bramante's death in 1514, he was named architect of the new St
In 1639, Bernini bought property on the corner of the via Mercede and
Peter's. Most of his work there was altered or demolished after his
the via del Collegio di Propaganda Fide in Rome. On this site he built
death and the acceptance of Michelangelo's design, but a few
himself a palace, the Palazzo Bernini, at what are now Nos 11 and 12
drawings have survived. It appears his designs would have made the
via della Mercede. He lived at No. 11 but this was extensively changed
church a good deal gloomier than the final design, with massive piers
in the nineteenth century. It has been noted how very galling it must
all the way down the nave, "like an alley" according to a critical
have been for Bernini to witness through the windows of his dwelling,
posthumous analysis by Antonio da Sangallo the Younger. It would
the construction of the tower and dome of Sant'Andrea delle Fratte by
perhaps have resembled the temple in the background of The
his rival, Borromini, and also the demolition of the chapel that he,
Expulsion of Heliodorus from the Temple.[50]
Bernini, had designed at the Collegio di Propaganda Fide to see it
He designed several other buildings, and for a short time was the most
replaced by Borromini's chapel.[13]
important architect in Rome, working for a small circle around the
Raphael
Papacy. Julius had made changes to the street plan of Rome, creating
[2]
Raffaello Sanzio da Urbino (April 6 or March 28, 1483 April 6,
several new thoroughfares, and he wanted them filled with splendid
1520[3]), better known simply as Raphael, was
palaces.[51]
an Italian painter and architect of theHigh Renaissance, celebrated for
The Villa Madama, a lavish hillside retreat for Cardinal Giulio de'
the perfection and grace of his paintings and drawings. Together
Medici, later Pope Clement VII, was never finished, and his full plans
with Michelangelo and Leonardo da Vinci, he forms the traditional
have to be reconstructed speculatively. He produced a design from
trinity of great masters of that period.[4]
which the final construction plans were completed by Antonio da
Raphael was enormously productive, running an unusually large
Sangallo the Younger. Even incomplete, it was the most sophisticated
workshop, and despite his death at 37, a large body of his work
villa design yet seen in Italy, and greatly influenced the later
remains. Many of his works are found in the Apostolic Palace of The
development of the genre; it appears to be the only modern building in
Vatican, where the frescoed Raphael Rooms were the central, and the
Rome of which Palladio made a measured drawing.[54]
largest, work of his career. The best known work is The School of
In 1515 he was given powers as "Prefect" over all antiquities
Athens in the Vatican Stanza della Segnatura. After his early years in
unearthed entrusted within the city, or a mile outside. Raphael wrote a
Rome much of his work was self-designed, but for the most part
letter to Pope Leo suggesting ways of halting the destruction of ancient
executed by the workshop from his drawings, with considerable loss of
monuments, and proposed a visual survey of the city to record all
quality. He was extremely influential in his lifetime, though outside
antiquities in an organised fashion. The Pope's concerns were not
Rome his work was mostly known from his collaborative printmaking.
exactly the same; he intended to continue to re-use ancient masonry in
After his death, the influence of his great rival Michelangelo was more
the building of St Peter's, but wanted to ensure that all ancient
widespread until the 18th and 19th centuries, when Raphael's more
inscriptions were recorded, and sculpture preserved, before allowing
serene and harmonious qualities were again regarded as the highest
the stones to be reused.[56]
models. His career falls naturally into three phases and three styles,
Giovanni Giocondo
first described by Giorgio Vasari: his early years in Umbria, then a
period of about four years (from 15041508) absorbing the artistic Fra Giovanni Giocondo (c. 1433 1515) was
of which, completed in 1492, he presented toLorenzo de' Medici. His son Giovanni Sallustio was also an architect.
Architectural works
Other work
Between 1496 and 1499 Giocondo was invited to France by Louis XII,
and made royal adviser. There he built one bridge of remarkable The close proximity of Raphael's work has overshadowed Peruzzi's
beauty, the Pont Notre-Dame (1500-1512) in Paris, and designed the work in the ceiling decoration of the Stanza d'Eliodoro in the Vatican.
palace of the Chambre des Comptes, the Golden Room of the While Raphael may have designed the general plan for the decoration
Parliament, and the Chateau of Gaillon (Normandy), one portal of of the hall, it is certain that the tapestry-like frescoes on the ceiling are
which has been removed to Paris, and stood for years in the courtyard to be ascribed to Peruzzi. Four scenes represent God's saving
of the cole des Beaux-Arts to serve as a model for students of omnipotence as shown in the case of Noah, Abraham,Jacob,
architecture, and was returned in 1977. and Moses. The manifestation of the Lord in the burning bush and the
by Titian and Giorgione. In 1513 the Rialto Bridge and its environs Peruzzi had produced for the church of S. Croce in Jerusalem a
were burned. Giocondo was one of those who presented plans for a mosaic ceiling, the beautiful keystone of which represented the
new bridge and surrounding structures. The designs of a rival were Saviour. Other paintings ascribed to him are to be found
chosen. Giocondo left Venice for Rome where he was employed by in Sant'Onofrioand San Pietro in Montorio. That Peruzzi improved as
theVatican from 1514. time went on is evident in his later works, e.g., the "Madonna with
architecturally rich interior. his military talents both in Rome itself and also during his attack
Giuliano da Sangallo upon Bologna. For about eighteen months in 1514-1515 Giuliano acted
Augustinian Friars outside the Florentine gate of San Gallo, which was
He was born at Melide, Ticino, Switzerland on the Lake Lugano and
destroyed during the siege of Florence in 1530.
died at Naples. He went to Rome before the death of Michelangelo. He
It was from this building that Giuliano received the name of Sangallo, won the confidence of Cardinal Montalto, later Pope Sixtus V, who
which was afterwards used by so many Italian architects. While still in entrusted him in 1584 with the erection of the Cappella del
the pay of Lorenzo, Giuliano visited Naples, and worked there for the Presepio (Chapel of the Manger) in Basilica di Santa Maria Maggiore,
king, who sent him back to Florence with presents of money, plate and a powerful domical building over a Greek cross. It is a marvellously
antique sculpture, the last of which Giuliano presented to his patron well-balanced structure, notwithstanding the profusion of detail and
Lorenzo. After Lorenzo's death in 1492, Giuliano visited Loreto, and overloading of rich ornamentation, which in no way interferes with the
built the dome of the Basilica of the Madonna, in spite of serious main architectural scheme. It is crowned by a dome in the early style of
difficulties arising from its defective piers, which were already built. In S. Mario atMontepulciano.
of fortresses during the war between Florence and Pisa. Soon after
Of more importance were the alterations he made in Basilica di San
the north facade an imposing double arcade of wide span and ample
sweep, and probably added the two-story portico the Scala Santa. This
the Vatican. In 1586 he erected the 327 ton obelisk in the Square of St.
Peter's. This feat of engineering took the concerted effort of 900 men,
work.
After his patron's death, he continued for some time in the service of
his style, envy, and the charge that he had misappropriated public
Lombardi.