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Other members of the Pesaro family

  • Sacra conversazione – literally a “holy conversation” in which saints from different eras are gathered together

  • A unique and dynamic DIAGONAL composition – Mary is not at the center of the painting but is the center of attention. Crossing diagonals lead the eye to Mary

  • Notice how Titian used large columns to create a sense of deep recessional space




      1. Miscellaneous masterpieces


    Bacchus and Ariadne (1520 – 1523)

    • Patron – Duke Alfonso d’ Este commissioned this painting – part of a series of 5 paintings to decorate a small room in his palace in Ferrara, including three by Titian and Bellini’s Feast of the Gods

    • Based on a poem by the Roman poet Catullus – “She, then, pitifully looking out at the receding boat/wounded was spinning convoluted cares in her mind./Then came swooping from somewhere Bacchus in his prime/with his cult of Satyrs, with his mountain-born Sileni/seeking you, Ariadne, aflame with love for you…”

    • Ariadne – reaching out in the distance for Theseus’ ship, the famous Athenian hero abandoned her on the island of Naxos. She sees Bacchus for the first time

    • Bacchus – god of wine and intoxication flies from his chariot and is infatuated with Ariadne. Notice that his chariot is attached to cheetahs.

    • A baby satyr leads a rowdy procession of Bacchus’ followers – satyrs and maenads, who hold the symbols of his cult

    • A crown of stars decorates the sky above her head – Bacchus gave Ariadne a golden crown as a wedding present, which he then fashioned into a starry constellation after Ariadne died.

    • Silenus – Bacchus’ foster father sleeps off a hangover in the distance and has to be supported by his companions

    • A figure with snakes in the foreground is mentioned in Catullus’ poem. What famous statue did Titian refer to with that pose?

    • Titian signed the golden vase at the bottom left

    • Bacchus and Ariadne captures the values of the Renaissance age – classical references, interest in human anatomy, pictorial illusion (a sense of depth), as well as the Venetian interests in sensuality and rich colors


    Portrait of Isabella d’ Este

    • Wife of the powerful Duke of Ferrara who commissioned Bacchus and Ariadne

    • Isabella d’ Este was the greatest female patron of the arts from the Renaissance period. She was largely responsible for the artistic flowering of Ferrara during the Renaissance.

    • Look at Leonardo’s study for a portrait of Isabella d’ Este

    • How does Titian portray her in this portrait? Does she look young?

    • Titian painted her as a younger woman when in fact she was in her 60’s (What famous work of art also captured the youthful appearance of the subject?)

    • She looks very serious and refined as appropriate for a woman of her status. She wears an elegant dress and is shown in a three-quarters pose. Her lovely hands, elegant coiffure, and pale complexion are a sign of her status as an aristocratic lady.


    Venus of Urbino (1538)

    • A young woman is posing nude. With her left hand she holds a posy of roses and with her right hand she covers herself. Titian has painted a RECUMBENT NUDE.

    • The patron was most likely Duke Guidobaldo della Rovere of Urbino (Do you recognize the family name?). May have been displayed in the bridal chambers of Guidobaldo and his young bride Giulia da Varano

    • Two women look through chests in the background. These chests called cassoni, were often wedding presents give from the groom to the bride. Cassoni were decorated on the outside with narrative scenes and the inside lid often contained an image of a naked man or woman. This painting may resemble what you would see on the inside lid.

    • Based off of Giorgione’s Sleeping Venus, on which Titian most likely collaborated in 1510.

    • The windows in the back which are separated by a large column resemble a drawing of the ducal palace of Urbino and may indicate the intended location of the painting

    • The myrtle tree in the window is a symbol of eternal commitment

    • The placement of the dog at the foot of the bed is in the approximate location of the Cupid in Giorgione’s painting. The dog is a symbol of fidelity.

    • Painting such as this may have been placed in the bridal chambers to inspire the romance of the newlyweds.




    1. Renaissance Architecture


    A. Introduction
    1. Importance – will influence other periods of architecture
    2. Influenced by classical architecture, breaking away from Gothic style


    • Remember, Giorgio Vasari used the term Gothic in a negative manner to describe the work of medieval architects

    • Many of the Renaissance architects spent time in Rome studying classical buildings

    • Renaissance architects incorporate the classical orders of architecture: Doric/Tuscan, Ionic, and Corinthian


    3. Important surviving structures that influenced Renaissance architects


    • Triumphal arches – the round arches, the barrel-vaulted passageways, coffers, and engaged columns

    • Colosseum – incorporated round arches, engaged columns, barrel vaults and groin vaults to support the passageways, and has different orders as the levels ascend – Tuscan, Ionic, and Corinthian

    • Pantheon – has a pediment (triangular part near roof), portico with columns, and rotunda (drum and dome), oculus, and coffered interior

    • Circular Roman temples such as Temple of Vesta




      1. Renaissance architects were influenced by VITRUVIUS




    • Importance of the work of VITRUVIUS – famous ancient Roman architect who wrote treatises on architecture – Renaissance architects read Vitruvius for inspiration

    • Recall that Leonardo illustrated one of the Vitruvian concepts of design – that an ideal building should be designed to have proportions like a well-built man – when he drew Vitruvian Man

    • Because of the work of Vitruvius, High Renaissance architects such as Bramante, Michelangelo, and Palladio will come to prefer the CENTRAL-PLAN over the BASILICA – breaking a tradition that had existed since Charlemagne and the Carolingian period


    B. Overview


        1. Early Renaissance architects




    • Brunelleschi – designed the cupola (dome) for the Duomo (Florence Cathedral, Pazzi Chapel, and Santo Spirito church




    • Alberti – wrote books on architecture and painting, designed Rucellai Palace, Sant Andrea in Mantua, and Santa Maria Novella




        1. High Renaissance architects




    • Bramante – designed the Tempietto in Rome, created the original designs for New St. Peter’s in Rome




    • Michelangelo – took over the designing of New St. Peter’s after several other architects worked on it, designed the Campidoglio (Capitoline Hill)




    • Palladio – Venetian architect famous for his villas – example: Villa Rotonda, wrote The Four Books of Architecture – very influential to later architects such as Thomas Jefferson, designed San Giorgio Maggiore – church in Venice


    C. Early Renaissance architects and their famous works
    1. Brunelleschi


    • Lost competition to Ghiberti to create the east doors for the Florence Baptistery

    • Travelled to Rome to study classical architecture

    • Discovers basic rules for linear perspective while in Rome

    • Comes back to Florence to design cupola (Italian for dome) of the Duomo (Florence Cathedral) – MAJOR ACHIEVEMENT

    • Cupola spanned a distance of 140 feet

    • No other architect could do it – Florence Cathedral was built during the 13th century and a dome was planned for the crossing but no architect could do it


    2. Brunelleschi’s Santo Spirito church, Florence


    • Corinthian columns instead of compound piers

    • Rounded arches instead of Gothic pointed

    • Coffered ceiling instead of ribbed vault

    • Human proportions used as basis of design

    • Symmetry or rhythmic harmony based on mathematically precise units. For example, the nave is two times as high as it is wide.

    • The clerestory is the same size as the nave arcade.

    • Therefore, the nave arcade is the same size as the width of the nave.

    • Horizontal emphasis – contrasts with the soaring verticality of Gothic architecture




        1. Brunelleschi’s Pazzi Chapel, Santa Croce church in Florence




    • Designed for Pazzi family of Florence, rivals of the Medici family (tried to assassinate Lorenzo the Magnificent)

    • Round arch

    • Pediment over the entrance

    • Use of coffers

    • Corinthian columns and pilasters (flattened version of columns)

    • Dome over the center – influence of the Pantheon of Rome

    • Notice the inclusion of Della Robbia’s terracotta sculptures to decorate the chapel




        1. Leon Battista Alberti




    • Prolific author – wrote three books related to art and architecture – one on painting, one on sculpture, and one on architecture

    • Wrote an autobiography

    • First to study seriously Vitruvius’s 1st century treatise on architecture

    • Wrote about the principles of linear perspective, which Brunelleschi had discovered




        1. Alberti’s Palazzo Rucellai, Florence




    • Powerful Florentine families wanted to build PALAZZO (like the word palace) - nice homes – the Medici built the first grand home of the Renaissance (See G – 591)

    • Homes were designed to be grand and formidable

    • Often, the homes contained a central courtyard. The Palazzo Medici contained a round-arched colonnade surrounding its courtyard – the first of its kind – which influenced other Renaissance palazzo (G – 592)

    • RUSTICATED – rough stone was often used for the lowest level of the façade to simulate a castle or fortification. For the higher stories, smoother stone masonry was used. There was a Roman precedent for this technique (G – 269)

    • Classical motifs such as entablatures, engaged columns or pilasters, round arches, and cornices (the overhang by the roof) were popular

    • Alberti modeled the façade of the Palazzo Rucellai on the Colosseum, with a different architectural order for each story and round arches

    • Used a different ORDER for each story which can be seen in the PILASTERS (flattened version of a column) – Tuscan for the first story, the Composite (a floral variation on Ionic) for the second story, and Corinthian for the third story

    • The Palazzo Rucellai is crowned by a classical cornice




        1. Alberti’s Church of Santa Maria Novella, Florence




    • This is the church that contains Masaccio’s Holy Trinity

    • Notice that the church façade has a PEDIMENT by the roof framed by a cornice

    • The lower story of the church has a central doorway that resembles a triumphal arch framed by engaged Corinthian pilasters

    • The lower story also contains engaged Corinthian columns

    • The façade of Santa Maria Novella is based on HARMONIC GEOMETRIC RELATIONSHIPS

    • The entire facade can be inscribed within a square. If you divide the square into four quarters, the lower story is symmetrical. The central part of the upper story is a square that is equal to the squares of the lower story – See the diagram on G – 599.

    • Both Alberti and Brunelleschi revived the true classical spirit. Recall that both Polykleitos and Iktinos (architect of the Parthenon) produced canons of beauty based upon mathematical ratios.

    • The upper structure can be encased in a square one-fourth the size of the main square.

    • Also, note the SCROLLS that simultaneously united the broad lower and narrow upper level. Such SCROLLS will appear in hundreds of Italian church facades.




        1. Alberti’s design for Sant’ Andrea church, Mantua




    • Alberti traveled widely sharing his ideas on art and architecture

    • In 1470, Ludovico Gonzaga (remember that he commissioned Andrea Mantegna to paint his Camera degli Sposi – remember the amazing oculus?!) the Duke of Mantua commissioned Alberti to enlarge the church of Sant’ Andrea.

    • Sant’ Andrea held an important relic that was believed to contain the real blood of Jesus Christ

    • First, compare the façade of Sant’ Andrea to the Arch of Augustus, 1st century CE, on G – 604 – What are some similarities between the two structures?



    • Alberti created a façade with equal horizontal and vertical dimensions – meaning that the façade is smaller than the actual building behind it (See the arch above the pediment – that is the actual height of the nave).

    • Central arch contains a coffered barrel vault and is framed by two Corinthian pilasters.

    • There are four Corinthian pilasters in total on the façade. The pilasters are three stories tall and are an early application of the COLOSSAL or GIANT order. The pilasters are the same height as the pilasters on the nave’s interior walls.

    • The façade contains a pediment and a cornice.

    • The interior of the Sant’ Andrea contains a barrel vaulted nave with coffers.

    • Side chapels extend off the sides of the nave and have barrel vaults that are the size of the nave


    D. High Renaissance architecture


    1. Donato Bramante

    2. Key ideas




      • The circle is an important shape to High Renaissance architects based on the writing of Vitruvius

      • Recall that Leonardo’s Vitruvian Man illustrated that the ideal proportions for a building are similar to the ideal proportions of a man.

      • When the human body is outstretched, it can be encases in a circle or a square.

      • Domed ceilings symbolize heaven

      • High Renaissance architects admired the PANTHEON and circular temples, which were influenced by the Greek THOLOS

      • See the Temple of Vesta – G – 251 – Roman architects had seen the beehive-shaped tombs of the Mycenaean civilization




    1. Centrally Planned Churches




    • Based upon the circle

    • Symmetrical in all four directions

    • Often used for a MARTYRIUM – chapel or church built over the tomb of a martyr




    1. Bramante’s Tempietto – “Little Temple” (Gardner’s 620)




    • Built in 1504 in Rome over the spot where St. Peter was crucified

    • Commissioned by Isabella and Ferdinand of Spain

    • Small – just 15 feet in diameter

    • 16 Tuscan columns arranged in circle

    • Post and lintel support for an entablature

    • Entablature contains a frieze with triglyphs and metopes

    • Precise proportions – Distance between each column is precisely 4 times the diameter of the column, distance between columns and the drum two times the diameter of the column

    • Drum and Dome

    • The cornice of the bottom story marks half the building’s height

    • Unity is achieved by the use of concentric circles (circles of the stairs, the drum, and the dome.




    1. Bramante’s design for New St. Peter’s




    • Julius II commissioned Bramante to design New St. Peter’s

    • Not much was accomplished during Bramante’s lifetime and the project passed from architect to architect

    • Bramante conceived the New St. Peter’s as a central plan using a Greek cross (equal armed cross) for the nave and transept with a large dome at the crossing

    • Complexity and sculptural quality – nine interlocking crosses within his plan supporting 5 domes (including the central dome)

    • Would have titanic proportions – Bramante boasted that the building would be like putting the Pantheon on top of Constantine’s Basilica Nova




    1. Michelangelo




    • Capitoline Hill (Campidoglio) (Gardner’s 635 and 6370

    • The Capitoline Hill had been the site of the greatest temple to Jupiter in the Roman world

    • Pope Paul III wished to transform the site into a civic center for Renaissance Rome

    • Michelangelo’s guiding principles are balance and symmetry

    • Michelangelo reasoned that architecture should follow the form of the human body. “For it is an established fact that members of architecture resemble the members of man. Whoever neither has been nor is a master at figures, and especially at anatomy, cannot really understand architecture.”

    • Two buildings already existed at the site – Palazzo dei Senatori (central building, east) and the Palazzo dei Conservatori (at the right - south)

    • Michelangelo convinced his sponsors of the need to build another structure to the north at the same acute angle as the angle between the Palazzo dei Conservatori and Palazzo dei Senatori. This new structure on the north side eventually became the Capitoline Museum.

    • An unusual shape – This architectural composition created a trapezoidal shape to the courtyard, which deviated from the Renaissance norms – but Michelangelo had no other choice

    • Michelangelo designed an interesting oval design for the pavement that would unite the three buildings – The oval was also an unusual and unstable shape by Renaissance standards but did unite the three buildings

    • Pope Paul selected the Equestrian Statue of Marcus Aurelius as the centerpiece for the Capitoline Hill because for centuries it was mistakenly believed to be Constantine. This would symbolize how Christianity triumphed over paganism. Michelangelo probably wanted to carve his own centerpiece

    • Using the Equestrian portrait of Marcus Aurelius brought together Rome’s history from ancient times through the 16th century and was fitting for the new civic center of Renaissance Rome




    1. Andrea Palladio

    • Renowned Venetian architect

    • Famous for designing villas for the Venetian aristocracy

    • Later, he also designed churches

    • Worked with an author on an updated version of Vitruvius’ treatise on architecture (may have done the illustrations)

    • Wrote his own treatise on architecture called The Four Books of Architecture – influenced Thomas Jefferson, who owned a copy

    • Appointed as architecture advisor of the Venetian Republic

    • Although influenced by a number of Renaissance thinkers and architects, Palladio’s ideas resulted independently from most contemporary ideas. Creatively linked to the artistic traditions of Alberti and Bramante … Palladio’s architecture and theories embodied Renaissance architectural thought in the second half of the sixteenth century … he established a successful and lasting way of recreating ancient classicism” (Great Buildings Online)




    1. Palladio’s Villa Rotonda

    • Originally called the Villa Capra but called Villa Rotonda because of its perfectly symmetrical plan

    • What building(s) do you think had a major influence on Palladio?



    • A square plan with connect to terraces and the landscape

    • In the center, a two story, circular hall with balconies capped by a dome

    • Originally commissioned by a retired cleric, today it belongs to and is maintained by the Venetian government as a historical site.




    • In the Palladio’s words: “The place is nicely situated and one of the loveliest and most charming that one could hope to find; for it lies on the slopes of a hill, which is very easy to reach. The loveliest hills are arranged around it, which afford a view into an immense theatre…,because one takes pleasure in the beautiful view on all four sides, loggias were built on all four facades” (Quattro Libri).
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