Building compstract The Pazzi Chapel - Essay Example

? The Pazzi Chapel Introduction The Pazzi Chapel is Brunelleschi built a masterpiece of religious building during the Renaissance period from 1429 to 1461 for the head of the Pazzi family. The building is currently located in the first cloister of the Basilica di Santa Croce in Florence, Italy. The chapel followed Brunelleschi’s general idea of simple geometric form that was frequently used in his architecture work. However, Brunelleschi himself did not complete the chapel; Andrea dei Pazzi, the head of the Pazzi Family, later resembled it1. Il Gesu Church (Church of the Gesu) of the Piazza del Gesu is situated in the centre of Rome, Italy and much bigger than Pazzi Chapel. Constructed by Vignola from 1568 to 1580 and funded by Allessandro Cardinal Farnese. This thesis compares the research that has been done on the Pazzi Chapel and, in turn, compare it the Il Gesu Church. Thesis statement While the Pazzi Chapel is gaining popularity by the day, there have been a number of attempts to discredits it popularity based on features such as setting, building mass, facades interior, construction, materiality, style and colors. The closest comparison that the Pazzi chapel building can have is the Il Gesu. However, is the Pazzi better than Il Gesu? The construction system of the chapel was loaded bearing masonry, made of concrete masonry blocks. Cement and synthetic adhesives are used as mortar to bond the masonry. The context of the chapel was intended to be a chapter house for religious teaching purposes. The interior and exterior of Pazzi Chapel are controlled by pillar type, which is popular during the Renaissance period. The architect shrewdly uses pillar type structure inside Pazzi Chapel to divide the front colonnade at facade into five, and the middle one is the biggest to separate the colonnade into two parts, and to highlight the center2. The Pazzi Chapel, this small but gorgeous building reaches the vertex of the early Renaissance style3. This chapel is full of rational and peace atmosphere and the constant change of the chapel causes a bright contrast with gothic architecture form. An attribution to the altar that was placed opposite to the entrance reflected from the inside, located at the center of the chapel that is visible from the facade. Six monolithic Corinthian columns symmetrical to each other supported the facade of the chapel, and a semi-circle opening is located in the upper part of the facade. There were no decorations on the column itself, but on the upper part of the facade, religious symbols were carved on the wall and around the dome. There were two narrow bays to the either side of the central bay. Four rectangular panels are located at the either side of the semicircular archivolt. The upper part of the facade was designed for the preparation of revetment. The basic symmetrical geometric form of deposition was used on the facade that was continuing designed on the interior. Differently, Brunelleschi not only used simple geometric from to design the interior part of the chapel, but also re-arranged these geometrical displacement. For example, circular domes were built above the rectangular structure. The ceiling of the chapel was evenly divided into twelve triangle shapes. The walls of the chapel are associated with six fluted Corinthian pilasters. These pilasters were lateral to the narrow bays. The narrow bays support as the medium to the arched window. Not to mention, there was a large rectangular window was built on the rear side of the wall. The window itself reflects the facade. The decorations of the chapel were majorly made in terra cotta, twelve terra cotta Apostles were encircled by the roundels, and twelve niche-shaped moldings were under the Apostles of the lambs. These Apostles were arranged in a group of three placed on the four corners of the chapel faces the compass and the color of all these pilasters, domes, even the chapel were majorly white. All of these arrange symbolized Florence as a heavenly city. Even though the chapel is small, but it was described as the one of the most valuable structure during the Renaissance period. It was also the absolute masterpiece of Brunelleschi, which exposes the idea of symmetry deposition. Figure 1:Adapted from: www.greatbuildings.com Photo, oblique view of font facade poch Figure 2: Adapted from: www.greatbuildings.com Altar space, from west · Pazzi Chapel · Florence, Italy Sketch of the facad. Adapted from: www.greatbuildings.com Building Compstract The Pazzi Chapel of the Basilica di Santa Croce is situated in Florence, Italy. The Church constructed by Brunelleschi during the Renaissance period from 1429 to 1469, for the Pazzi family, and later completed by Andrea dei Pazzi, the financier and head of the Pazzi Family.The Il Gesu Church (Church of the Gesu) of the Piazza del Gesu is situated in the centre of Rome, Italy and much bigger than Pazzi Chapel . Constructed by Vignola from 1568 to 1580 and funded by Allessandro Cardinal Farnese. This thesis compares the research that has been done on the Pazzi Chapel and, in turn, compare it the Il Gesu Church. IL Gesu Church Plan (Adapted from: www.greatbuildings.com) Building type The Pazzi Chapel is church building with quad roundels in the pendentive gaps in the corners. Developed as commemoration chapels in harmony to display members of the families momentously and even ensure their deaths. The Pazzi financed the church that carries their identity to work as the chapter chamber for the Franciscans of Santa Croce around 1441- Adapted from: www.greatbuildings.com. 1460.Pazzi is structured rectangular with a dome adorning a porticoes entrance as well as a porch with triple vaulted ceiling4. Dome In pazzi The central dome and the scarcella dome possess the same shape but their unequal sizes are based on multiples of the equivalent module, a square; a module was likewise useful for maintaining the space below the central dome and for the more complex three sizable development of space below it. The arithmetic multiplication and partition of the module is also simply evident to many visitor in the ornament and windows (or blind window frames) as well as the roundels, spherical ornamental plaques produced by the artisan della Robbia. The window-unit concept is duplicated on all four walls of the main area, adducing a sense of coherence to the whole architecture. In the Il Gesu,Vignola productively employed the Vitruvian procedure of posting a circle inside of a square, or more precisely a sphere inside of a cube, furthermore in applying this humanistic archetypal, mastered to infuse geometry along with mathematics to construct this space. The mortal form was fundamental in structural concepts based on humanistic tenets, fair, as the identity would have you believe. Setting The Pazzi Chapel possessed a Franciscan setting and constructed in the course of renaissance age from 1429 to 1461 in comparison to Il Gesu, which had been set in the acknowledged transition between late Renaissance and Baroque5. The Il Gesu served the model for impending Jesuit architecture and chapels worldwide as described by Barolsky6. Facades The facade of the Il Gesu portrayed as the "first truly baroque facade". Complicated shapes, robust contrasts of both depth not to mention appearance, and priceless ornamentation, characterize it. The facade, designed by Giacomo della Porta after Vignola died, is separated into dual sections, namely the lower section. This is divided by six duos of pilasters, solid with Corinthian capitals while the upper is divided close-at-hand with four duos of pilasters .The association between the upper region and the lower is a volute on each flank executes region7. Adapted from: www.greatbuildings.com The Facade, of the Pazzi chapel, keeps a magnificent central arch flanked by an exposed colonnade of columns. The upper segment of the facade mostly conceived for the formulation of revetment. The fundamental symmetrical geometric physique of deposition was applied on the facade that was undeviating designed on the interior. Six monolithic Corinthian pilasters symmetrical to each other propped the facade of the church as well as a semi circle opening in the upper part of the facade8. Adapted from: www.greatbuildings.com Chapel Altar Space Il Gesu Altar Space Adapted from: www.greatbuildings.com Interior In Pazzi Chapel, no decorations subsist on the column itself, but on the upper segment of the facade, religious carved symbols dorn the wall and around the dome. There were two tenuous bays to the both side of the central bay. Four rectangular panels closely positioned at the two side of the semicircular archivolt. The exterior of the Pazzi church was embodied with an arched, tripartite portico that might have been accomplished following Brunelleschi’s demise. The concept was previously applied as a common facade idea in the Renaissance to designate the successfulness of Christianity. The portico ceiling of the Pazzi cathedral, beautified with classicizing shells as well as coffers, prompts the visitor into a spare chamber articulated with wall sculpting along with marble floor patterning that separates the rectangular chamber into ratios of 1:2, 1:3, together with 1:4 from the crossing square, with an altar square across from the entryway. These partitions in Pazzi Chapel continue with exact amount symbolism and religious significance. For instance, the quad corner pendentives feature medallions of the four clergymen; likewise, the 12 wall pilasters separate the room into vertical patches featuring medallions of the 12 apostles positioned just below the entablature. This symbolism is furthermore amplified in the 12 ribs of the modest umbrella dome over and above the crossing square. In these processes, the Pazzi church most fully and articulately discovered the Renaissance fascination for the circle, the triangle, along with the square, as favourably as the explanation of these shapes and their arithmetic equivalents in both classical doctrines including Christian symbolism. Therefore, while the dome of the Il Gesu demonstrates Vignolas understanding of Roman architectural innovations, the Pazzi Chapel, in its austere harmony, best depicts Brunelleschi’s classical elegant. Barolky asserted that, Il Gesu interior, possesses a complete opposite of Pazzi Chapel, with expansive central nave as one spacious hall, a shallow apse with the highly observable and pivotal altar moved up front, and side priories secured off as individual entities from the nave not to mention each encircled by exquisite candlelit balustrades9. The innermost decoration is sizably baroque and bare plaster blanketed with frescoes. The entryway is in picturesque balustrades with gates in laid polychrome marble revetments relieved by gilding, frescoed barrel vaults beautify the ceiling and flamboyant white stucco and marble carvings break out of their tectonic framing.  Adapted from: www.greatbuildings.com Pazzi Chapel interior with Dome Il Gesu interior with Dome Adapted from: www.greatbuildings.com By opening up the Il Gesu chapel and relocating the choir area to the hectare behind the altar, the altar is observable to the people attending the mass. The exact execution of the facade is distinct from Vignola's original conception. The adornment is reduced, with a much-extended exaggerated focus on the epicentre of the building. The main emphasis is captured by making the ornamentation to both side of the core pediment and openings more unsophisticated and enabling those component to stand out more. The surrounding pillar and column on the entrance distinguish it from the dual pilasters elsewhere on the facade. One atop the cornice resembles the pediment, over and above the door. Both pediments are very stable and project as well as recess with the cornice10. As explained by Sider, the interior of the structure as we see it today was not the original plan during this period11. The late baroque adornment of Giovanni Battista Galilei was concluded later when the building itself was had been completed, the initial decorations presumably echoed the simplicity educed on the interior of the Pazzi Chapel.  Materiality The architecture at the Il Gesu is a theatrical blend where the ceiling was conceived of bronze like a sky, which fades into infinity like ambiguity shroud the vaulting of the ceilings. The “Triumph of the Names Jesus” is observable on the ceiling with gilded bronze .The pilasters are developed from caecilians jaspers and ochre marble. St. Ignatius' Altar tomb on the foremost, left aisle is an explosion of Baroque grandeur, with lapis lazuli, alabaster, semi-precious rocks, comprehensive types of colourful marbles, gilded bronze, and silver plate. The sculpture is made of genuine solid silver, which indicates a strong theme of materiality. Style The Il Gesu church introduced the baroque style into architecture of the church while the Pazzi Chapel is of renaissance style.  Colour Gartner explained that Pazzi Chapel had full-colored ceramics motivated della Robbia to glaze his carvings, mostly in white, blue along with green12. The stained-glass window above the altar, the glazed terra-cotta roundel reliefs of the apostles in sky blue and white deploy color, while in the Il Gesu Church the colors are lively although not dazzling. Blue, red, amber, and gold conquer the theme of the church13. Building comps tract Cheswick House was completed in 1782 during the reign of George II, and was designed by Lord Burlington. This was a Palladian Villa in Balington Lane, in London. It was one of the buildings inspired by Palladio’s own work based on the symmetry, perspective, and values of the formal classical temple architecture of the Ancient Greeks and Romans. It was a residential building, which after the death of its first occupant in 1753; the property was ceded to the Cavendish family. It was passed to his son William who did not use it as his main residence, but his wife Georgina Spencer, used the house as a retreat and as a Whig stronghold for many years. From 1892, it was rented to the Cavendish family who used it as a hospital. Cheswick House has three elevations: the front and garden fronts which are different, and the two side elevations are alike. Cheswick House has an octagonal central saloon. While Palladio used the Iconic order, Burlington used the Corinthian. His architectural inspiration came from Vitruvius and various ancient buildings, and works by Renaissance and British architects like Inigo Jones. It lacked a kitchen, dining room, and service facilities. It is also not certain if it originally had bedrooms. The plan was relatively small, and could have served as an art gallery. The front is differentiated by a portico of six evenly spaced Corinthian columns, with an elegant balustrade of staircase continued between the columns of the portico and the flanking windows of the first floor. The podium used bugnato and vermiculated rustications, which was applied for the first time in England. The portico entablature has Palladio’s three lines of bead and reel in the architrave, cyma over and below the frieze and under the corona of the cornice, and egg and tongue above dentils between frieze and cornice. The front stairs, which is the direct entrance to the first floor’s Piano Nobile was used primarily for formal events. The staircase plan is unusual with the lowest flights on either side descending from a landing both toward the centre and to the edge of the building. The front window is a pediment window with a balustrade that the stringcourse intersects at the baluster level. The lower entrance, the south door on the ground floor has the plinth that is unusual in terms of projection and height. The door interrupts it with neither an architrave nor any framing member. The side view is attributed to the Flemish sculptor John Michael Rysbrack (1694-1770), which serve as a guide to the visitor, and at Cheswick, it is not a guide to the underworld, but to the ancient world. The wave molding on the stairs is an ornament that has a classical pedigree, which is found on a number of temples in Rome. The garden front to the north side is a beautiful staircase that connects the garden with three galleries on the first floor. The Venetian windows are positioned in arched recesses. The positioning was intentionally done to rovide an optimal view of the horizon, which was designed to face a manmade rive or a swimming pool, however, the building was not completed due the unavailability of funds, but was later adopted due to the picturesque view . The plan of the house sits on a square, with rooms around a central octagon, the octagon was the chosen plan and the schematics shows that this was based on the belief that the building was supposed to be a storey building and that it would require a firm foundation. There are three rooms facing the garden on the north side. Burlington borrowed the idea from Thiene palace at Vicenza of a long room with apsidal ends, that one sets in from two circular or octagonal rooms. England had not known this contrasting sequence before, and thus it became an important and integral part of English classical tradition. The west side lawn slopes to the river. The faced has a Venetian window with a door set under it. Burlington borrowed this feature from Scamozzi’s Rocca Pisani and Villa Molini14. The house has a wall with curved crenellation and ball finals that extends the facade of the house on both front and garden front. The striking ornament of balls on concave plinths tops these walls. The octagonal drum and dome, has semi circular lunette windows lighting the drum, which are found in Roman architecture, especially the Baths of Diocletian window. The stepped dome has a precedent in the Pantheon. The fireplaces in the house are all on external walls, contrasting to English architects at the time, which designed internal fireplaces. The chimneystacks are shaped like obelicks that are found in Renaissance Italian buildings. The chimneys did not draw well; therefore, they were replaced in the 1950s to their original shape. This villa was Burlington’s main residence from about 1733. It essentially was a passage way that destroyed the symmetry of the Palladian architecture. The garden side of the link building is a pediment with a central pediment window; these are recesses rather than windows. There was a paddock for deer on the east side of the villa, which Burlington designed with the allusions of the ancient architecture. The Vitruvian and Serlin door is uncharacteristic of Gibbs or Campbell, which inspired his work. Palladio illustrated this door from the Temple of Vesta at Tivoli. Originally, one of the two-entrance gate piers were topped with sphinxes, in classical mythology, as guidance of the villa that presumably protected Thabes. The vermiculated rustication of the podiums is repeated in the piers quoins. After entering the gate, one is flanked by herms that have ancient pedigree that were commonly used in the sixteenth century Italian architecture. They were used in the Roman times as boundary posts, but this was more than just post but part of a very elegant design set to inspire modern day architectural designs, the effort put in designing the gardens was more than required, this might have been done to ensure that the gardens emphasized the value of the building. The materials might have been expensive but the value of the house was too. Modern day architects still fail to unravel the real design of the house or the materials used but are believed that most of the materials were exotic. This was curetted to last centuries and the building has lasted to prove this. It has not had any major facelifts despite the years of service elegantly standing along the waterfront. The view of perfect for a Jacobean house but the style is both formal and classical15. II Gesu Il Gesu occupies is the Jesuit Mother Church, that occupies the site St. Ignatius chose for his headquarters in 1540. Pope Paul III Farnese gave the society a small neighbourhood chapel that proved too small. The construction lasted over 40 years, three foundation stone ceremonies, and six architects: Nanni di Baccio Bigio, Michelangelo, Vignola, Giacomo della Porta, and Jesuits Giovanni Tristano and Giovanni de Rosis. Il Gesu was consecrated in 1584 after the death of Ignatius. Il Gesu incorporates Jesuit spiritual values and articulates catholic doctrine. Architecturally, it marks the transition between Renaissance and Baroque. This plan became the model of Jesuit churches worldwide. Il Gesu is situated in the centre of downtown Rome, typically a central meeting place for all generations and classes of the city’s population. Il Gesu’s facade became the model for catholic churches for centuries to come. The tripartite front by Giacomo delta Porter has classical elements, while Baroque did the huge side volutes. On the left is a spectacular Baroque achievement, the chapel of Sant’ignazio by Andrea Pozzo, which is adorned with gold, silver, and coloured marble. The stature of St Ignatius done by Antonio Canova, covered with concrete towers above the altar. It was believed to be the largest lump of Lapis Iazulli in the world. An ugly hag has her breasts tugged by a vicious serpent with a virtuous Faith triumphing over them, and a pagan Roman soldier. Giacomo della Porter’s design for the facade was accepted in 1571. The main architect Vignola died that year, and Porter had to finish the church. The facade conveys a message of harmony and seriousness that represented the goal of the Counter Reformation. This asserted the authority and majesty of the Catholic Church. This facade was divided into two parts; the upper and the lower portion. The lower portion had wonderful reminiscence of Palladian architecture. The columns and pilasters had the harmonious lines of an ancient Greek and Roman temples. The upper part has wonderful scroll shaped buttresses o either side. This truly echoes the theme of Jesuits as being very learned scholars and teachers of faith. The church has only one aisle nave with short transepts, flanked by side chapels. According to Vignola’s designs, the focus was on high altars. This was one of the new way of thinking for sacred buildings that emphasized liturgical need over the personal wishes of architects. The bare plaster was covered by frescoes, with Baroque decorations. The vault was painted by il Baciccio between 1672 and 1685. In his Fresco, he used an overhead perspective that that seemed to break through the vault. The cupola was designed by Vignola but completed by della Porta. The frescoes depict persons from the Old Testament by il Baciccio. Many artists contributed to the chapel of St. Ignatius such as Pierre Legros, Benardino Ludovisi, II Lorenzone, and Jean Baptiste Theodon. The Frescoes are the most extraordinary painting in the church, possibly in the whole of Rome. The famous sculptor, Bernini won the contract to paint the frescoes for Il Gesu when he was just 22. After eighteen years, he unveiled the Triumph surrounded by gilt coffered ceiling. The fresco represents the loyal and pious ascending to join Jesus in heaven with the impious being cast down. Baciccio finally made an incredible three-dimensional Trompe l’oeuil assisted by his student Antonio Raggi. Raggi worked on foreshortened stucco fashion, and the wooden figures were affixed at the bottom of the painting. These figures appeared as part of the main fresco. This uncanny effect in the church has a slanted mirror below the fresco to avoid one cricking their necks while gawking at the masterpiece. Giacomo della Porta did the magnificent dome that is also covered by Baciccio’s Trompe l’oeuil fresco. It represents the biblical learned and wise men, praising Jesus on their ascent to heaven to sit by his side. This fresco and the stunning one at the end of the vault blur the line between the painting and the sculptor. The figures look like they are pouring out of the painting, thus the three dimensional perspective hovers above one’s head. The nave and the dome paintings decorated the church with frescoes. These frescoes particularly had pendentives with triangular spaces where columns expanded to arches, and join to give support to the dome. Many churches have the transepts intersecting the nave that creates a footprint, which forms the shape of the cross. The left and right wings of the transept of Il Gesu are quite shallow, because of the need to fit a large church house in small available space in between existing houses. However, the space was put to good use on either side, especially the left side. This left side houses the altar tomb of St Ignatius. The Jesuit artist Andrea Pozzo who was a master of Trompe l’oeuil frescoes constructed the altar. He utilized silver, gold, bronze, rare marbles, and minerals like malachite, lapis lazuli, and porphyry. He had about 100 artisans who helped him create the wonderful Roman Baroque artistry. The original stature of St. Ignatius was made of pure silver; it was later melted down to pay taxes to Napoleon. It was later replaced with a stucco replica covered with silver foil. Over the stature, a sphere was originally hewn from the solid chunks of lapis lazuli. Over to the right of the stature lies Pietro Le Gro’s sculptor. This sculptor has the title Triumph of Faith over Heresy. This sculptor represents Mary casting Martin Luther King and his precursor, Jan Huss, out of heaven. While an attendant angel tears apart their translations of the bible and their writings to shreds. This diagrammatic work clearly depicts the Jesuits militant nature, and their mission to spread faith and to reassert the power of the church. There is another accompanying sculptor entitled The Triumph of Faith over Idolatry designed by Jean Baptiste Theodon. The Alter of St. Francis Xavier sits to the right transept. Pietro da Cortona designed it, the altar has multi coloured marble columns frame with a painting of the death of the saint. Cortona’s silver reliquary contains the right forearm of the saint that many believe to have converted over 300000 souls. Behind the main altar of Il Gesu , below the apse, lies an altar in memory of Saint Roberto Bellarmine, which is a fierce bust designed by Bernini. To the left of the main altar is the chapel of the Santa Maria degli Astalli. It houses the 14th century icon of Santa Maria della Strada. It came from the original church that was razed to pave way for Il Gesu. It had originally hung down on the facade of the original church. The sacred heart chapel was designed by della Porter, the frescoes decorated by Baldassare Croce in 1599; the painting was done by Pompeo Batoni for the sacred heart of Jesus, which is a replica in many catholic homes today. St Ignatius built the order’s first genera late next to the church. The rooms are incorporated in the present residence for Jesuit’s seminarians; they contain memorabilia of the society and the Jesuit saints. There is also a painting of a young St. Ignatius in a soldier’s uniform. There are two altars, and one of them has a painting of the Holy Family, and it is the one in which Ignatius offered mass on the day he died. Renaissance Facade of Il Gesu. Part of the altar in Il Gesu Main altar in Il Gesu This painting is called Triumph of the Name of Jesus in Il Gesu Conclusion While the architectural design of the 11 Gesu building is unique and innovative, it fails to promise much out of the ordinary. The inspiration it has is based on the old design that was a Georgian England. Even though it embraces the rejection of the baroque style, it has stood the test of time to show them that baroque style failed to be the most advanced and prime designs of all ages. Additionally, many modern building use the original design to define their heritage ad style, but the most noticeable architecture used as a benchmarked for the; latest designs is the Pazzi chapel inspiration. The cascade used in the Il Gesu house has attracted a lot of admiration and inspired many present day pavements and elevators. However, the most important feature in the building that inspires a lot is the paintings, which are far different from the formal ones captured in most buildings of those times. This is because of the buildings of then, favored the classical precedents. Perhaps it is healthy to note that the building is the second most praised building amongst the architectures worldwide and despite that common knowledge that architecture started in Greece, the Pazzi chapel is the most impressive and outstanding amongst all the architectures in the world. BibliographyBottom of Form Bottom of Form Top of Form Bottom of Form Top of Form Bottom of Form Bottom of Form Top of Form Bottom of Form architecture, Western: Early Renaissance in Italy (1401–95). Encyclop?dia Britannica. 2007. Ayres, Philip. 1997. Classical culture and the idea of Rome in eighteenth-century England. Cambridge: Cambridge University Press. Filippo Brunelleschi: the Buildings (210-284). Howard Saalman. 1993 Gartner, Paul. 1998. Filippo Brunelleschi 1377-1446. Cologne: Konemann, Hartt , F., & Wilkins , D.( 2010) . History of Italian Renaissance Art: Painting, Sculpture and Architecture (7th Ed).Upper Saddle River : Prentice Hall Jacob, Margaret.1991. Living the Enlightenment. Freemasonry and Politics in Eighteenth- Century Europe, Oxford: Oxford University Press. Jones, Inigo, John Harris, and Gordon Higgott. 1989. Complete architectural drawings. New York: Drawing Center. Kent, Wilison.1984. Architect, Designer, Painter, Gardener, 1685–1748. Hampshire: Routledge & Kegan Paul PLC, Rosenau, Helen. 1979. Vision of the temple the image of the temple of Jerusalem in Judaism and christianity. London: Oresko Books. Saalman, Howard, $ Filippo Brunelleschi. 1993. Filippo Brunelleschi: the buildings. Univ. Park, PA: Pennsylvania State Univ. Park u.a.State University Press Sider, Sandra. 2005. Handbook to life in Renaissance Europe. New York, NY: Facts On File. Soulier-De?tis, Elisabeth. 2010. "Guess at the rest" cracking the Hogarth code. Cambridge (Royaume-Uni): Lutterworth Press. Stevenson, David. 1990. The origins of Freemasonry: Scotland's century, 1590-1710. Cambridge [England]: Cambridge University Press. Toward an Interpretation of The Pazzi Chapel (228-231). Paul Barolsky. 1973. Wittkower, Rudolf. 1974. Palladio and Palladianism. New York: G. Braziller. Read More