How Did the Antiquity Influenced the Italian Renaissance Urban Domestic Architecture - Case Study Example

Italian Renaissance Urban Domestic Architecture Proposal Depending on time period and place, the definition of art has meant different things to different people. For example, most people today recognize the term ‘Renaissance’ as meaning a specific time period in Western European culture which happened roughly between the years 1400 and 1600, having its start earlier in the major city-states of Italy and characterized by a tremendous explosion in art. “The term ‘Renaissance’ might now be defined as a model of cultural history in which the culture of fifteenth- and sixteenth-century Europe is represented as a repudiation of medieval values in favor of the revival of the culture of ancient Greece and Rome” (Campbell, 2004: v-vi). This suggests that the definition of art that emerged during the Renaissance differed significantly from the accepted definitions applied to art during the Middle Ages. However, the word ‘Renaissance’ itself means, literally, “rebirth” and it was applied to the ideas of artistic renewal that took place in this time period as the people of Italy and other nations began rediscovering the skill of the ancient world that represented for them a golden age of shared culture, reason and creativity. While this is the general claim, how much evidence is actually in existence that illustrates that antiquity was highly influential on Italian Renaissance architecture? What indications exist that suggest the artists and architects of the Renaissance were inspired by the classical examples that were coming to light? Statement of Research Problem As the structural ruins of the ancient world were being rediscovered and the principles of science were again coming to light heading into the 1400s, the Italian Renaissance was born. The focus provided during the Renaissance did have a quite different approach from the approach of their predecessors, as the art created during the Renaissance reflected ancient myths and legends as well as contemporary thought and Christian ideals. As the church simultaneously underwent a period of Reformation, rejecting the focus on material splendors, such as the gold-plated iconography, and turning instead to its simpler, purer early forms, many artists during the Renaissance found themselves pulled between Christianity and paganism, heaven and earth, and found a way to express this conflict in the magnificent works of art and architecture they produced. The artists of the Italian Renaissance were given greater abilities to communicate with their audiences not only in subject matter and the application of scientific principles, but also in that they were working with a more educated audience capable of understanding the finer nuances of these works. However, does this mean that they were classically influenced? Perhaps these individuals were merely reacting to a greater educated public, the dawning of new scientific ideas rather than old ideas? In addition, how can this be proven to any significant degree? The process of architectural theory, as we know from modern study, is a continuous process. The concept of architectural theory is not the straight-forward concept one might expect if one were discussing the concept of a triangle or the shape of a box. Simply looking at a single building reveals that there is no one way to approach the topic and no single ‘right’ answer to the idea of what informed a particular piece. There are a number of theories regarding what is architecture and they continue to change with time, material, usage of the structure and so forth. This is the main argument brought forward by Kruft (1994). “The majority of programmes that purport to be theories of architecture seek to combine aesthetic, social and practical considerations in an integrated whole; the emphasis being either theoretical or practical, according to whether the author is an architect himself, and on whom he is writing for” (Kruft, 1994: 14). In other words, the ideas of architectural theory depend strongly upon who is doing the writing, what their objectives are in writing it and how well they work to illustrate with examples the ideas they are attempting to bring forward. In addition, architectural theory can be seen to rely to a great degree upon the ideas and directions informing artistic movements as they are both affected by and serve to build upon existing theory and conceptions. This suggests many of the architectural developments that took place during the Renaissance may have simply been influenced by the energy of the day rather than the inspirations of the classics. To attempt to determine to what degree antiquity influenced the urban architecture of the Italian Renaissance influenced or inspired the artists and architects of the Renaissance, I intend to provide a clear definition of the Italian Renaissance that will be covered by this study and some conceptions of architectural theory as it is understood today as it pertains to the relationship between architects and ideas of the age. Proposed Section Headings Architectural theory This section will be brief and will introduce some basic architectural theory that helps to inform further discussion regarding how one might begin tracing influences upon architectural design. The relationships between architectural features, architectural design and the prevalent ideas of the culture in which it is designed will comprise a great deal of the study and these concepts must be clearly understood from the outset. Italian Renaissance This section will also be relatively brief and will strive to more closely define the period under study. As a part of this definition, a brief history of the period, beginning in approximately 1300 with the earliest traces of the Italian Renaissance and moving into the 1600s and the end of the period, will be included. Major characteristics of the period, new innovations and social elements will also be included as necessary elements in attempting to answer the research question. Influence of the Wealthy Art and architecture in the Renaissance was necessarily influenced to a great deal by the wealthy members of society. The importance of this concept is better understood when comparing the influences of the Middle Ages, mostly coming from the church, with those of the Renaissance, coming from more secular sources and begins to enlighten understanding of changes in design over time. This understanding may facilitate more accurate assessment of influences. As patrons It would be difficult to assess the degree to which the ideas of antiquity influenced the art and architecture of the Renaissance without understanding where the predominant influence for design originated. By examining some of the reasons why patrons commissioned art or hired the architects and designers they hired, it is perhaps possible to discover the degree to which these individuals dictated design. Pressure on the Pope Understanding the degree to which these pressures of the wealthy influenced the Pope and his decisions begins to suggest the strength of these influences. Is the influence of the wealthy simply in the amount of art to be displayed, the scale of the architecture, or is it also influential in the form of the art or the presentation of the architecture? The Palazzo de Medici A case study of the Palazzo de Medici in the center of Florence illustrates the degree of influence of the patron upon the architect in the wealthy urban domestic setting. This case study is helpful in discovering not only the degree to which the patron dictates design elements, but also provides some insight into the tendency of the patron as it is seen how Cosimo de Medici tended to adhere more to the traditional forms of expression while his descendents preferred a more modern approach, themselves influenced by the art of the age. Influential ideas of antiquity Having explored the degree to which the question of patronage might influence the art and architecture of an era, it is time to turn to the main question by investigating those areas in which the ideas of antiquity might have been carried forward into the Italian culture and art. Mathematics and geometry The particular characteristics of Renaissance architecture include an attention given to the regularity and clarity of the various parts, the inclusion of specific yet simple mathematical proportions and a deliberate emphasis on a renewal of old Roman architectural styles in the form of columns, hemispherical domes, geometrically flawless designs and symmetry. Much of this style of architecture is based upon the discovery of the Golden Means used throughout antiquity. Symmetry Symmetry in design is especially emphasized throughout the ancient structures of Greece and Rome. Within this segment, several ancient buildings will be examined for their symmetry as well as an examination of whether these principles were truly removed from common practice during the middle periods to be ‘reborn’ in the Renaissance. Functional simplicity In structures such as the Parthenon, which will provide a strong example of ancient architecture, there is a strong emphasis on functional simplicity. The structure is balanced based on careful mathematical principles that take into account the weight of the roof as well as the aesthetics and uses of the final structure. In this design, there seems to be very little evidence for architectural features installed simply for appearance as emerges during the Gothic period. Evidence of Antiquity’s Influence on Art Having examined the evidence for the influence of the patron upon the design of the architect, the new understanding of the influences of antiquity can be similarly applied to the structures of the Renaissance. Evidence of increased mathematical application to design, symmetrical structures and a decrease in embellishment simply for appearance sake may be more confidently stated with historical perspective. Examples of Renaissance structures will be utilized to help illustrate the discussion. Major architects of the Renaissance Having examined the possible influences on architects and some of the structures that inform the modern audience of these thoughts, it is also necessary to examine some of the more influential architects of the era to discover what influence may be evident in their work or biographies. Filippo Brunelleschi Brunelleschi (1337-1446) is most often given credit for bringing the Renaissance style to Florence with his 1421 work on the Ospedale degli Innocenti (Foundling Hospital). The designs include a classical colonnade, semicircular arches and hemispherical domes while following the mathematical proportions of classic Roman structures. Brunelleschi invented the ‘single vanishing point’ perspective and was considered the first trail-breaker in Renaissance architecture. The spectacular cathedral in Florence stands as proof of his brilliance; his bold and rash style, but also the absolute perfectionism in technique. Leon Batista Alberti Alberti (1406-1472) believed in the idea of architecture as a means of creating meaning as well as buildings, and typically used elements such as columns in ways that were both decorative and retained their original function as load-bearing supports. His façade of Santa Maria Novella was the first Renaissance building to embody the concepts of harmonic proportion (Campbell, 2004, p. 4). Donato Bramante Bramante (1443-1514) was first an artist, then an architect. He introduced the coffered interior and octagonal lantern in his work on the San Satiro as well as the use of trompe l’oeil painting in creating the illusion of a chancel where there wasn’t space enough for a real one. Antonio da Sangallo the younger Antonio da Sangallo the younger (1484-1546), whose Farnese Palace is held to represent the period’s greatest accomplishments. Although the building was later completed by Michelangelo, the portion that was created by Sangallo features a series of arches that span the distance between columns that together support an entablature in a design that is very similar to the outside of the Colosseum. Works Cited Bruker, Gene. (1983). Renaissance Florence. Berkeley: University of California Press. Campbell, Gordon. (2004). Renaissance Art and Architecture. New York: Oxford University Press. Gallwitz, Karl Ludwig. (1999). The Handbook of Italian Renaissance Painters. Munich: Prestel. Heydenreich, Ludwig H. (1974). Architecture in Italy: 1400-1500. New Haven: Yale University Press. King, Ross. (2003). Michelangelo & The Pope’s Ceiling. New York: Walker & Company. Kruft, Hanno-Walter. (1994). “What is Architectural Theory?” A History of Architectural Theory: From Vitruvius to the Present. London: Zwemmer: 13-19. Lemaitre, Alain J. & Lessing, Erich. Florence and the Renaissance. Paris: Terrail Press. Martines, Lauro. (1979). Power and Imagination: City-States in Renaissance Italy. New York: Alfred A. Knopf. Pioch, Nicolas. (October 14, 2002). “Le Renaissance: Italy.” WebMuseum, Paris. September 27, 2008 < http://www.ibiblio.org/wm/paint/glo/renaissance/it.html> “Renaissance Art and Architecture.” (2004). The Columbia Encyclopedia. Sixth Ed. New York: Columbia University Press. Rymer, Eric. (2004). “Middle Ages Painting.” History Link. September 27, 2008 Vasari, Georgio. (1568, reprinted 1998). The Lives of the Artists. New York: Penguin Classics. Read More