DOCSLIB.ORG

Arch 242: Building History Ii

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arch 242: Building History Ii ARCH 242: BUILDING HISTORY II Renaissance & Baroque: Rise & Evolution of the Architect 01 AGENDA FOR TODAY . FILIPPO BRUNELLESCHI - The Artisan Architect - Linear Perspective - Church Components - Santa Maria del Fiore - Architectural Problems - San Lorenzo - Santo Spirito - Pazzi Chapel in Santa Croce - Discuss 02 FILIPPO BRUNELLESCHI Filippo Brunelleschi, 1377-1446 - Born in Florence, Italy 03 FLORENCE, ITALY Florence Modern map of Italy Map of Tuscany by Ignazio Danti 1580-1581 04 FILIPPO BRUNELLESCHI Filippo Brunelleschi, 1377-1446 - Born in Florence, Italy - Engineer, Goldsmith, Clockworker, Etc. 05 GUILDS OF FLORENCE - Guilds were secular, regimented organizations formed to preserve the rights of their members. - Basically, two types of guilds: 1- Merchant Guilds 2- Craft Guilds - In Florence, levels of Guilds existed as a result of chronology. 1- Greater Guilds (1190s): Judges, Lawyers, Notaries, Bankers, Silk Weavers & Merchants, Merchants, Finishers, Dyers, Wool, Manufacturers & Merchants, Physicians & Pharmacists, Furriers, and Skinners 2- Intermediate Guilds (early 1200’s): Butchers, Grazers, , Master Stonemasons, Tailors Wood-carvers, Linen Manufacturers, Cloth retailers, Blacksmiths, Shoemakers 3- Lesser Guilds (late 1200’s): Vintners, Innkeepers, Curriers, Tanners, Bakers, & Millers, Olive Oil Merchants, Saddlers, Harness-Makers, Locksmiths, Toolmakers, Armourers, Swordsmiths, Carpenters 06 ARTE DELLA LANA Wool Guild of Florence - In 1239 Umiliati monks arrived in Florence and started Florence’s wool industry. - During the Renaissance, much of Florence’s wealth came from the wool industry. - In the 1330’s Florence’s Wool Guild takes over responsibility for building and funding Florence’s Cathedral. 07 FILIPPO BRUNELLESCHI Filippo Brunelleschi, 1377-1446 - Born in Florence, Italy - Engineer, Goldsmith, Clockworker, Etc. - First Architect to be named 08 FROM GOLDSMITH TO ARCHITECT Competition for the Bronze Doors of the Baptistery of San Giovanni - In 1401, the Guild of Cloth sponsors the competition. - Each candidate was given 4 sheets of Bronze & asked to execute a scene with the subject of Abraham’s sacrifice of Isaac described in Genesis 22:12-13. 09 RIVALRY Filippo Brunelleschi -vs- Lorenzo Ghiberti - The competition is narrowed down from 7 to 2. - Ghiberti apprenticed under Bartoluccio. - Brunelleschi & Ghiberti work in two very different approaches. 10 LORENZO GHIBERTI WINS Ghiberti, 1401, Abraham’s Sacrifice of Isaac Brunelleschi, 1401, The Sacrifice of Isaac 11 BRUNELLESCHI IN ROME Engraving by Aegidius Sadeler II, Palatine Hill in Rome, 1606 12 BRUNELLESCHI IN ROME Pantheon, erected in 1st Century AD, Rome 13 LINEAR PERSPECTIVE A mathematical system in which the illusion of space is created on a two-dimensional surface. - Horizon line: runs across the canvas at eye level. It is where sky meets ground. - Vanishing Point: located near the center of the horizon line. All orthogonal lines merge to the vanishing point. Filippo Brunelleschi’s Perspective Technique from a Lost Painting of the Battistero di San Giovanni 14 BRUNELLESCHI’S EXPERIMENT See “Linear Perspective: Brunelleschi’s Experiment” 15 FILIPPO BRUNELLESCHI Filippo Brunelleschi, 1377-1446 - Born in Florence, Italy - Engineer, Goldsmith, Clockworker, Etc. - First Architect to be named - The Artisan Architect 16 FLORENCE, ITALY 01 Santa Maria del Fiore 02 San Lorenzo 02 03 Santo Spirito 01 04 Pazzi Chapel 04 03 17 TERMINOLOGY Components of a church, using Chartres Cathedral as an example. 18 FACADE A single exterior side of a building. In most cases, it is the “front” of the building. 19 NARTHEX The entrance or lobby area. 20 NAVE The primary approach to the apse or altar. 21 SIDE AISLES Lateral aisles other than the nave. 22 TRANSEPT Separates the nave from the choir and apse. 23 CROSSING The junction of the nave, choir, and transept. 24 CHOIR The space near the altar which is allotted for clergy or singers. 25 APSE A semi-circular or polygonal termination to the choir or aisles of the church. 26 ALTAR The “holiest” place in a Christian church. 27 AMBULATORY A place of procession around the altar. 28 APSIDAL CHAPEL An “extra” sanctuary in which other altars may be placed. 29 SANTA MARIA DEL FIORE, 1420-1436 - In 1296, the original cathedral was begun by Arnolfo Cambio. - In 1357, Francesco Talenti enlarges and modifies the plan. - Talenti’s plan calls for an eight-sided conical dome, without buttressing. - On August 19, 1418, the Wool Guild opens a public competition for vaulting for the new dome. 30 SANTA MARIA DEL FIORE, 1420-1436 - In 1420, a technical solution for vaulting that was proposed by Brunelleschi was approved. - A double-shelled structure. - Vertical stone ribs reinforce the structure. -Horizontal reinforcement consists of stone & iron tension chains (one of wood) that are partially visible. - Brunelleschi provides for future maintenance. 31 SANTA MARIA DEL FIORE, 1420-1436 - Dome was built without centering. - Dome was built in a psuedo-circular plan, similar to the Pantheon. - Brunelleschi invents new machines and technologies to achieve construction. 32 SANTA MARIA DEL FIORE, 1420-1436 - Brunelleschi remained on site during construction. - New structural and engineering technologies would go on to be used in other domes, such as Saint Peter’s in Rome. - In 1436, it was the highest and widest vault ever to be raised. 33 ARCHITECTURAL PROBLEMS Lunette with Piazza del Duomo by the Italian School 34 ARCHITECTURAL QUESTIONS - How does one deal with a section? - How does one layout a plan? - How does one turn a corner? - How does one create an opening? - How does the roof meet the sky? - How does the foundation meet the ground? - How does one deal with the component to the whole? i.e. How does the house relate to the street? How does the street relate to the neighborhood? How does the neighborhood related to the city? 35 ARCHITECTURAL PERSPECTIVE How does one implement linear perspective architecturally? How does one see? San Lorenzo, 1421-1428 Santo Spirito , 1428-1482 36 SIMILAR STRUCTURES Both are Gothic structures, but space and structure are perceived differently. San Lorenzo, 1421-1428 Santo Spirito , 1428-1482 37 SAN LORENZO, 1421-1428 38 SAN LORENZO, 1421-1428 39 SAN LORENZO, 1421-1428 40 SANTO SPIRITO, 1428-1482 41 SANTO SPIRITO, 1428-1482 42 WALL TREATMENT San Lorenzo, 1421-1428 Santo Spirito , 1428-1482 43 ELONGATED - VS- SHORTENED PERSPECTIVE San Lorenzo, 1421-1428 Santo Spirito , 1428-1482 44 PAZZI CHAPEL, BUILT AFTER 1442 45 FILIPPO BRUNELLESCHI Filippo Brunelleschi, 1377-1446 Florence, Italy Questions? 46.
Load more

Recommended publications
  • Discovering Florence in the Footsteps of Dante Alighieri: “Must-Sees”
    1 JUNE 2021 MICHELLE 324 DISCOVERING FLORENCE IN THE FOOTSTEPS OF DANTE ALIGHIERI: “MUST-SEES” In 1265, one of the greatest poets of all time was born in Florence, Italy. Dante Alighieri has an incomparable legacy… After Dante, no other poet has ever reached the same level of respect, recognition, and fame. Not only did he transform the Italian language, but he also forever altered European literature. Among his works, “Divine Comedy,” is the most famous epic poem, continuing to inspire readers and writers to this day. So, how did Dante Alighieri become the father of the Italian language? Well, Dante’s writing was different from other prose at the time. Dante used “common” vernacular in his poetry, making it more simple for common people to understand. Moreover, Dante was deeply in love. When he was only nine years old, Dante experienced love at first sight, when he saw a young woman named “Beatrice.” His passion, devotion, and search for Beatrice formed a language understood by all - love. For centuries, Dante’s romanticism has not only lasted, but also grown. For those interested in discovering more about the mysteries of Dante Alighieri and his life in Florence , there are a handful of places you can visit. As you walk through the same streets Dante once walked, imagine the emotion he felt in his everlasting search of Beatrice. Put yourself in his shoes, as you explore the life of Dante in Florence, Italy. Consider visiting the following places: Casa di Dante Where it all began… Dante’s childhood home. Located right in the center of Florence, you can find the location of Dante’s birth and where he spent many years growing up.
    [Show full text]
  • Stepping out of Brunelleschi's Shadow
    STEPPING OUT OF BRUNELLESCHI’S SHADOW. THE CONSECRATION OF SANTA MARIA DEL FIORE AS INTERNATIONAL STATECRAFT IN MEDICEAN FLORENCE Roger J. Crum In his De pictura of 1435 (translated by the author into Italian as Della pittura in 1436) Leon Battista Alberti praised Brunelleschi’s dome of Florence cathedral, Santa Maria del Fiore [Fig. 1], as ‘such a large struc- ture’ that it rose ‘above the skies, ample to cover with its shadow all the Tuscan people’.1 Alberti was writing metaphorically, but he might as easily have written literally in prediction of the shadowing effect that Brunelleschi’s dome, dedicated on 30 August 1436, would eventually cast over the Florentine cultural and historical landscape of the next several centuries.2 So ever-present has Brunelleschi’s structure been in the historical perspective of scholars – not to mention in the more popular conception of Florence – that its stately coming into being in the Quattrocento has almost fully overshadowed in memory and sense of importance another significant moment in the history of the cathedral and city of Florence that immediately preceded the dome’s dedication in 1436: the consecration of Santa Maria del Fiore itself on 25 March of that same year.3 The cathedral was consecrated by Pope Eugenius IV (r. 1431–1447), and the ceremony witnessed the unification in purpose of high eccle- siastical, foreign, and Florentine dignitaries. The event brought to a close a history that had begun 140 years earlier when the first stones of the church were laid in 1296; in 1436, the actual date of the con- secration was particularly auspicious, for not only is 25 March the feast of the Annunciation, but in the Renaissance that day was also the start of the Florentine calendar year.
    [Show full text]
  • Prato and Montemurlo Tuscany That Points to the Future
    Prato Area Prato and Montemurlo Tuscany that points to the future www.pratoturismo.it ENG Prato and Montemurlo Prato and Montemurlo one after discover treasures of the Etruscan the other, lying on a teeming and era, passing through the Middle busy plain, surrounded by moun- Ages and reaching the contempo- tains and hills in the heart of Tu- rary age. Their geographical posi- scany, united by a common destiny tion is strategic for visiting a large that has made them famous wor- part of Tuscany; a few kilometers ldwide for the production of pre- away you can find Unesco heritage cious and innovative fabrics, offer sites (the two Medici Villas of Pog- historical, artistic and landscape gio a Caiano and Artimino), pro- attractions of great importance. tected areas and cities of art among Going to these territories means the most famous in the world, such making a real journey through as Florence, Lucca, Pisa and Siena. time, through artistic itineraries to 2 3 Prato contemporary city between tradition and innovation PRATO CONTEMPORARY CITY BETWEEN TRADITION AND INNOVATION t is the second city in combination is in two highly repre- Tuscany and the third in sentative museums of the city: the central Italy for number Textile Museum and the Luigi Pec- of inhabitants, it is a ci Center for Contemporary Art. The contemporary city ca- city has written its history on the art pable of combining tradition and in- of reuse, wool regenerated from rags novation in a synthesis that is always has produced wealth, style, fashion; at the forefront, it is a real open-air the art of reuse has entered its DNA laboratory.
    [Show full text]
  • Routing Sheet
    LC 265 RENAISSANCE ITALY (IT gen ed credit) for May Term 2016: Tentative Itinerary Program Direction and Academic Content to be provided by IWU Professor Scott Sheridan Contact [email protected] with questions! 1 Monday CHICAGO Departure. Meet at Chicago O’Hare International Airport to check-in for May 2 departure flight for Rome. 2 Tuesday ROME Arrival. Arrive (09.50) at Rome Fiumicino Airport and transfer by private motorcoach, May 3 with local assistant, to the hotel for check-in. Afternoon (13.00-16.00) departure for a half- day walking tour (with whisperers) of Classical Rome, including the Colosseum (entrance at 13.40), Arch of Constantine, Roman Forum (entrance), Fori Imperiali, Trajan’s Column, and Pantheon. Gelato! Group dinner (19.30). (D) 3 Wednesday ROME. Morning (10.00) guided tour (with whisperers) of Vatican City including entrances to May 4 the Vatican Rooms and Sistine Chapel. Remainder of afternoon at leisure. Evening (20.30) performance of Accademia d’Opera Italiana at All Saints Church. (B) 4 Thursday ROME. Morning (09.00) departure for a full-day guided walking tour including Piazza del May 5 Campidoglio, Palazzo dei Conservatori, Musei Capitolini (entrance included at 10.00), the Piazza Venezia, Circus Maximus, Bocca della Verità, Piazza Navona, Piazza Campo de’ Fiori, Piazza di Spagna and the Trevi Fountain. (B) 1 5 Friday ROME/RAVENNA. Morning (07.45) departure by private motorcoach to Ravenna with en May 6 route tour of Assisi with local guide, including the Basilica (with whisperers) and the Church of Saint Claire. Check-in at the hotel.
    [Show full text]
  • "Nuper Rosarum Flores" and the Cathedral of Florence Author(S): Marvin Trachtenberg Source: Renaissance Quarterly, Vol
    Architecture and Music Reunited: A New Reading of Dufay's "Nuper Rosarum Flores" and the Cathedral of Florence Author(s): Marvin Trachtenberg Source: Renaissance Quarterly, Vol. 54, No. 3 (Autumn, 2001), pp. 740-775 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/1261923 . Accessed: 03/11/2014 00:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org This content downloaded from 192.147.172.89 on Mon, 3 Nov 2014 00:42:52 AM All use subject to JSTOR Terms and Conditions Architectureand Alusic Reunited: .V A lVewReadi 0 u S uperRosarum Floresand theCathedral ofFlorence. byMARVIN TRACHTENBERG Theproportions of the voices are harmoniesforthe ears; those of the measure- mentsare harmoniesforthe eyes. Such harmoniesusuallyplease very much, withoutanyone knowing why, excepting the student of the causality of things. -Palladio O 567) Thechiasmatic themes ofarchitecture asfrozen mu-sic and mu-sicas singingthe architecture ofthe worldrun as leitmotifithrough the histories ofphilosophy, music, and architecture.Rarely, however,can historical intersections ofthese practices be identified.
    [Show full text]
  • Looking at the Pazzi Chapel's Umbrella Vault from Its Oculus
    Looking at the Pazzi Chapel’s umbrella vault from its oculus Nevena RADOJEVIC DiDA: Dipartimento di Architettura – Università degli Studi di Firenze, Italy Abstract: The subject of the research is the umbrella vault in the Pazzi Chapel in Santa Croce church in Florence. In some previous researches done by the author, attempts were made to formulate new hypotheses on the form-finding processes that could have determined the shape of umbrella’s vault sail. The analyses were done by correlating detailed surveys and geometric analyses of the vault, comprising the curves, surfaces and the possible masonry texture with the hypothesized form. The hypothesized form of the inner sail is obtained by a three-dimensional transformation of a toric surface, with respect to the fixed point (dome’s oculus) and constant length (torus radius), like the conchoid of Nicomedes in 2d. The vault is made by the inner sail (the conchoid surface) and the outer sail that is not visible in this moment (the hypothesized toric surface). The results were verified by overlapping the hypothesized inner sail’s form with the laser scanner data, and only 4% of points were out of the 3 cm range. This very particular form, even though it explains the building process in a very satisfactory manner, is not actually something that the visitors can see (with the naked eye). Actually, the conchoid surface (that is a solid central projection of torus), could be perceived like a transformation of torus only under certain conditions. First condition: the inner conchoidal sail’s surface should be mapped by the elements that represent the projection of the torus’s peculiar elements (circumferences for example) onto the conchoid surface from the fixed point (oculus).
    [Show full text]
  • Notes on a Florence Visit
    Notes on A Florence Visit For Great Views of Florence without the Steps Frescoes of the Last Supper in Florence Roof of the Rinascente Department store Roof of the Ospedele degli Innocenti Upper floor of the Orsanmichele Church Recectory at San Marco Piazzale Michelangelo – take the #12 or #13 bus Refectory at St. Maria del Carmine Roof of the Oblate Library – 2 blocks from Duomo Refectory of Ognissante Church Take the bus from San Marco up to Fisole Refectory at Santa Maria Novella -painted by a nun- Sister Trattoria Le Mossacce Nelli Refectory at Santa Croce Videos to View Refectory of San Salvi Refectory at Sant’Apollonia Cenacolo of Fuligno The Medicis – on Netflick Rick Ruggiero on Road Scholar’s Virtual Lecture Medici: Godfathers of the Renaissance -PBS YouTube – 3 hour walking tour of Florence Room With a View Secrets of Florence (on Hoopla) Books To Read Brunelleschi’s Dome – Ross King The Lives of the Artists – Vasari The Stones of Florence – McCarthy Birth of Venus – Dunant Looking at Painting in Florence – Paterson The Light in the Piazza - Spencer Places Not to Miss Mercato Centrale –Market, Food Court, Cooking School Grom Gelato Badia Fiorentina - for Night Vespers Duomo – inside without line – side entrance for English Mass on Sat. PM or Sun. Amici Card at the Uffizi for immediate entry Officina Profumo-Farmaceutica di Santa Maria Novella Ognissante Church – tomb of Botticello Giotto Crucifix Pazzi Chapel next to Santa Croce Leather School and Factory behind Santa Croce Vasari Corridor – expected to be opened this year Galileo Museum San Miniato Church Santissima Annunziata Church – painting of Mary completed by an angel Museum of Precious Stones Riccardo- Medici Palace – Chapel of the Magi San Maria dell Carmine Church -Brabcacci Chapel Santo Spirito Church – Michelangelo’s Crucifix .
    [Show full text]
  • 1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
    Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church.
    [Show full text]
  • A Private Chapel As Burial Space: Filippo Strozzi with Filippino Lippi and Benedetto Da Maiano in Santa Maria Novella, Florence
    A PRIVATE CHAPEL AS BURIAL SPACE 215 A Private Chapel as Burial Space: Filippo Strozzi with Filippino Lippi and Benedetto da Maiano in Santa Maria Novella, Florence ITO Takuma Keywords: Renaissance art, Medieval art, private chapels, funeral monu- ments, fresco painting Introduction Chapel decoration as burial space in Renaissance Florence had two dis- tinct tendencies, apparently opposing but not necessarily mutually exclu- sive. On the one hand, there was a growing demand for spatial coherence in religious buildings, especially in churches newly built in the Renaissance style, such as San Lorenzo and Santo Spirito. Chapels in these churches indeed generally entailed commissioning a few choice objects, such as an altarpiece or a painted window, and the funeral monuments were rather modest, comprised in many cases only of simple tomb-slabs. Chapels with a greater degree of spatial independence, on the other hand, permitted the patrons to develop highly personalized burial settings. One such example is the Sagrestia Vecchia in San Lorenzo, where Cosimo de’ Medici had a sarcophagus installed under the table at the center of the space as a funeral monument for his parents. In traditional gothic churches, too, family cha- . See for example E. Capretti, “La cappella e l’altare: evoluzione di un rapporto,” in C. Acidini Luchinat ed., La chiesa e il convento di Santo Spirito a Firenze (Florence, 996), 229-238. Research Fellow of the Japan Society for the Promotion of Science 216 pels, especially those in transepts, were decorated with lesser regard for the cohesion and unity of the church structures, and often involved sumptuous funeral monuments.
    [Show full text]
  • Insider's Florence
    Insider’s Florence Explore the birthplace of the Renaissance November 8 - 15, 2014 Book Today! SmithsonianJourneys.org • 1.877.338.8687 Insider’s Florence Overview Florence is a wealth of Renaissance treasures, yet many of its riches elude all but the most experienced travelers. During this exclusive tour, Smithsonian Journey’s Resident Expert and popular art historian Elaine Ruffolo takes you behind the scenes to discover the city’s hidden gems. You’ll enjoy special access at some of Florence’s most celebrated sites during private after-hours visits and gain insight from local experts, curators, and museum directors. Learn about restoration issues with a conservator in the Uffizi’s lab, take tea with a principessa after a private viewing of her art collection, and meet with artisans practicing their ages-old art forms. During a special day in the countryside, you’ll also go behind the scenes to explore lovely villas and gardens once owned by members of the Medici family. Plus, enjoy time on your own to explore the city’s remarkable piazzas, restaurants, and other museums. This distinctive journey offers first time and returning visitors a chance to delve deeper into the arts and treasures of Florence. Smithsonian Expert Elaine Ruffolo November 8 - 15, 2014 For popular leader Elaine Ruffolo, Florence offers boundless opportunities to study and share the finest artistic achievements of the Renaissance. Having made her home in this splendid city, she serves as Resident Director for the Smithsonian’s popular Florence programs. She holds a Master’s degree in art history from Syracuse University and serves as a lecturer and field trip coordinator for the Syracuse University’s program in Italy.
    [Show full text]
  • Art 232: History of Western Art II David Mccarthy Rhodes College, Fall 2006 414 Clough, Ext
    Art 232: History of Western Art II David McCarthy Rhodes College, Fall 2006 414 Clough, Ext. 3663 417 Clough, TTH: 12:30-1:45 Office Hours: MW: CRN: 17056 2:00-4:00 and by appointment. COURSE OBJECTIVES AND DESCRIPTION The objectives of the course are as follows: (1) to provide students with a comprehensive overview of the major images, artists, and movements of Western art from the Renaissance to the present; (2) to integrate these images with the broader social and intellectual history of their respective period; and (3) to help students develop the visual and analytical skills needed for further study in the history of art. Among the themes we will examine are the following: the development of naturalism in Renaissance art and its eventual abandonment in the late nineteenth century, the use of art as a form of political or spiritual propaganda, the continuing debt to classical ideals and styles, the effect of new technologies and materials on architecture, the development of new styles over the past century, and the changing status of the artist within Western society. Art 232 is the second half of a survey designed to introduce students to the history of Western art from its beginnings in the prehistoric period to the twenty-first century. Students are not expected to have had any previous experience with art history. Art 232 is a lecture course with some classroom discussion. TEXTBOOKS Sylvan Barnet. A Short Guide to Writing About Art, 8th edition. New York: Longman, 2005. Marcia Pointon. History of Art: Student’s Handbook, 4th edition.
    [Show full text]
  • Scale Model of Florence Cathedral Dome
    Peregrinations: Journal of Medieval Art and Architecture Volume 4 Issue 1 2013 Discovered: Scale Model of Florence Cathedral Dome Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation . "Discovered: Scale Model of Florence Cathedral Dome." Peregrinations: Journal of Medieval Art and Architecture 4, 1 (2013). https://digital.kenyon.edu/perejournal/vol4/iss1/21 This Discoveries is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. et al. ______________________________________________________________________________ DISCOVERIES Discovered: Scale Model of Florence Cathedral Dome Italian archaeologists have unearthed the remains of a mini dome near Florence’s cathedral — evidence, they say, that the structure served as a scale model for the majestic structure designed by Filippo Brunelleschi (1377- 1446). Found during excavations to expand the Cathedral museum, the model measures 9 feet in circumference and is made of bricks arranged in a herringbone pattern. “This building technique had been previously used in Persian domes, but Brunelleschi was the first to introduce it into Europe when he worked at the dome,” said Francesco Gurrieri, professor of Restoration of Monuments at the University of Florence. “Although at the moment we cannot confirm the small dome was the demonstration model for Brunelleschi’s plans, it did belong to the yard he created between 1420 and 1436, when he worked at one of the most incredible feats of engineering.” One of the most instantly recognizable churches in the world, the dome of Santa Maria del Fiore is the highest and widest (143 feet in diameter) masonry dome in the world.
    [Show full text]