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History of Architecture: Chapters XX-XXVIII

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History of Architecture: Chapters XX-XXVIII vii TABLE OF CONTENTS. PAGE PRELIMINARY MATERIAL (separate file) MEDIEVAL AND EARLIER ARCHITECTURE: CHAPTERS I–XIX, WITH FIGURES 1–157 (separate file) LIST OF ILLUSTRATIONS (Figures 158–229) xi CHAPTER XX. EARLY RENAISSANCE ARCHITECTURE IN ITALY 270 CHAPTER XXI. RENAISSANCE ARCHITECTURE IN ITALY—THE ADVANCED RENAISSANCE AND 288 DECLINE CHAPTER XXII. RENAISSANCE ARCHITECTURE IN FRANCE 308 CHAPTER XXIII. RENAISSANCE ARCHITECTURE IN GREAT BRITAIN AND THE NETHERLANDS 326 CHAPTER XXIV. RENAISSANCE ARCHITECTURE IN GERMANY, SPAIN, AND PORTUGAL 338 CHAPTER XXV. THE CLASSIC REVIVALS IN EUROPE 354 x CHAPTER XXVI. RECENT ARCHITECTURE IN EUROPE 368 CHAPTER XXVII. ARCHITECTURE IN THE UNITED STATES 383 CHAPTER XXVIII. ORIENTAL ARCHITECTURE—INDIA, CHINA, AND JAPAN 401 APPENDIX 417 GLOSSARY 429 INDEX OF ARCHITECTS 431 INDEX 435 xi LIST OF ILLUSTRATIONS. A few illustrations include links to larger versions. In the printed book, Figures 182, 222, 223 and 229 were cropped to L- or J-shapes. The background (plain sky) has been artificially restored for symmetry. The border around Figure 224 is in the original. THE authorship of the original drawings is indicated by the initials affixed: A. = drawings by the author; B. = H. W. Buemming; Bn. = H. D. Bultman; Ch. = Château, L’Architecture en France; G. = drawings adapted from Gwilt’s Encyclopædia of Architecture; L. = Lübke’s Geschichte der Architektur; W. = A. E. Weidinger. All other illustrations are from photographs. PAGE FRONTISPIECE. The Parthenon Restored (from model in Metropolitan Museum, New York) Figures 1–157 (separate file) 158 Capital, Palazzo Zorzi, Venice 275 159 Section of Dome, Duomo of Florence (Bn.) 276 160 Exterior of Dome, Duomo of Florence 277 161 Interior of S. Spirito, Florence 278 162 Court of Riccardi Palace, Florence 279 163 Façade of Strozzi Palace, Florence 280 164 Tomb of Pietro di Noceto, Lucca 282 165 Vendramini Palace, Venice 285 166 Façade of Giraud Palace, Rome (L.) 290 167 Plan of Farnese Palace, Rome (L.) 292 168 Court of Farnese Palace, Rome 293 169 Bramante’s Plan for St. Peter’s, Rome (L.) 294 170 Plan of St. Peter’s, Rome, as now standing (Bn. after G.) 295 171 Interior of St. Peter’s (full page) 297 172 Library of St. Mark, Venice 301 173 Interior of San Severo, Naples 302 174 Church of Santa Maria della Salute, Naples 303 175 Court Façade, East Wing of Blois 311 176 Staircase Tower, Blois 313 xvi 177 Plan of Château of Chambord (A.) 314 178 Upper Part of Château of Chambord 314 179 Detail of Court of Louvre, southwest portion 315 180 The Luxemburg Palace, Paris 318 181 Colonnade of the Louvre 321 182 Dome of the Invalides, Paris 322 183 Façade of St. Sulpice, Paris 323 184 Burghley House 327 185 Whitehall Palace. The Banqueting Hall 329 186 Plan of St. Paul’s Cathedral, London (G.) 330 187 Exterior of St. Paul’s Cathedral 331 188 Plan of Blenheim (G.) 332 189 St. Martin’s-in-the-Fields, London 333 190 Renaissance Houses, Brussels 335 191 The Castle, Hämelschenburg 341 192 The Friedrichsbau, Heidelberg Castle 344 193 Pavilion of Zwinger Palace, Dresden 345 194 Marienkirche, Dresden 346 195 Portal of University, Salamanca 349 196 Court (Patio) of Casa de Zaporta 350 197 Palace of Charles V., Granada 351 198 Façade of British Museum, London 357 199 St. George’s Hall, Liverpool 358 200 The Old Museum, Berlin 359 201 The Propylæa, Munich 360 202 Plan of the Panthéon, Paris (G.) 361 203 Exterior of the Panthéon 362 204 Arch of Triumph of l’Étoile, Paris 363 205 The Madeleine, Paris 364 206 Door of École des Beaux-Arts, Paris 365 207 St. Isaac’s Cathedral, St. Petersburg 366 208 Plan of Louvre and Tuileries (A.) 371 209 Pavilion Richelieu, Louvre 372 210 Grand Staircase, Paris Opera House 373 211 Fountain of Longchamps, Marseilles 374 212 Galliéra Museum, Paris 375 213 Royal Theatre, Dresden 376 214 Maria-Theresienhof, Vienna 377 215 Houses of Parliament, London 379 216 Assize Courts, Manchester 380 xvii 217 Natural History Museum, South Kensington 381 218 Christ Church, Philadelphia 386 219 Craigie House, Cambridge (Mass.) 387 220 National Capitol, Washington 389 221 Custom House, New York 390 222 Trinity Church, Boston 394 223 Public Library, Woburn (Mass.) 395 224 Times Building, New York 396 225 Country House (Mass.) 398 226 Porch of Temple of Vimalah Sah, Mount Abu. 406 227 Tower of Victory, Chittore 407 228 Double Temple at Hullabîd: Detail 410 229 Shrine of Soubramanya, Tanjore 412 270 CHAPTER XX. EARLY RENAISSANCE ARCHITECTURE IN ITALY. BOOKS RECOMMENDED: Anderson, Architecture of the Renaissance in Italy. Burckhardt, The Civilization of the Renaissance; Geschichte der Renaissance in Italien; Der Cicerone. Cellesi, Sei Fabbriche di Firenze. Cicognara, Le Fabbriche più cospicue di Venezia. Durm, Die Baukunst der Renaissance in Italien (in Hdbuch. d. Arch.). Fergusson, History of Modern Architecture. Geymüller, La Renaissance en Toscane. Montigny et Famin, Architecture Toscane. Moore, Character of Renaissance Architecture. Müntz, La Renaissance en Italie et en France à l’époque de Charles VIII. Palustre, L’Architecture de la Renaissance. Pater, Studies in the Renaissance. Symonds, The Renaissance of the Fine Arts in Italy. Tosi and Becchio, Altars, Tabernacles, and Tombs. THE CLASSIC REVIVAL. The abandonment of Gothic architecture in Italy and the substitution in its place of forms derived from classic models were occasioned by no sudden or merely local revolution. The Renaissance was the result of a profound and universal intellectual movement, whose roots may be traced far back into the Middle Ages, and which manifested itself first in Italy simply because there the conditions were most propitious. It spread through Europe just as rapidly as similar conditions appearing in other countries prepared the way for it. The essence of this far-reaching movement was the protest of the individual reason against the trammels of external and arbitrary authority—a protest which found its earliest organized expression in the Humanists. In its assertion of the intellectual and moral rights of the individual, the Renaissance laid the foundations of modern civilization. The same spirit, in rejecting the authority and teachings of the 271 Church in matters of purely secular knowledge, led to the questionings of the precursors of modern science and the discoveries of the early navigators. But in nothing did the reaction against mediæval scholasticism and asceticism display itself more strikingly than in the joyful enthusiasm which marked the pursuit of classic studies. The long-neglected treasures of classic literature were reopened, almost rediscovered, in the fourteenth century by the immortal trio—Dante, Petrarch, and Boccaccio. The joy of living, the hitherto forbidden delight in beauty and pleasure for their own sakes, the exultant awakening to the sense of personal freedom, which came with the bursting of mediæval fetters, found in classic art and literature their most sympathetic expression. It was in Italy, where feudalism had never fully established itself, and where the municipalities and guilds had developed, as nowhere else, the sense of civic and personal freedom, that these symptoms first manifested themselves. In Italy, and above all in the Tuscan cities, they appeared throughout the fourteenth century in the growing enthusiasm for all that recalled the antique culture, and in the rapid advance of luxury and refinement in both public and private life. THE RENAISSANCE OF THE ARTS. Classic Roman architecture had never lost its influence on the Italian taste. Gothic art, already declining in the West, had never been in Italy more than a borrowed garb, clothing architectural conceptions classic rather than Gothic in spirit. The antique monuments which abounded on every hand were ever present models for the artist, and to the Florentines of the early fifteenth century the civilization which had created them represented the highest ideal of human culture. They longed to revive in their own time the glories of ancient Rome, and appropriated with uncritical and undiscriminating enthusiasm the good and the bad, the early and the late forms of Roman art, Naïvely unconscious of the disparity 272 between their own architectural conceptions and those they fancied they imitated, they were, unknown to themselves, creating a new style, in which the details of Roman art were fitted in novel combinations to new requirements. In proportion as the Church lost its hold on the culture of the age, this new architecture entered increasingly into the service of private luxury and public display. It created, it is true, striking types of church design, and made of the dome one of the most imposing of external features; but its most characteristic products were palaces, villas, council halls, and monuments to the great and the powerful. The personal element in design asserted itself as never before in the growth of schools and the development of styles. Thenceforward the history of Italian architecture becomes the history of the achievements of individual artists. EARLY BEGINNINGS. Already in the 13th century the pulpits of Niccolo Pisano at Sienna and Pisa had revealed that master’s direct recourse to antique monuments for inspiration and suggestion. In the frescoes of Giotto and his followers, and in the architectural details of many nominally Gothic buildings, classic forms had appeared with increasing frequency during the fourteenth century. This was especially true in Florence, which was then the artistic capital of Italy. Never, perhaps, since the days of Pericles, had there been another community so permeated with the love of beauty in art, and so endowed with the capacity to realize it. Nowhere else in Europe at that time was there such strenuous life, such intense feeling, or such free course for individual genius as in Florence. Her artists, with unexampled versatility, addressed themselves with equal success to goldsmiths’ work, sculpture, architecture and engineering—often to painting and poetry as well; and they were quick to catch in their art the spirit of the classic revival.
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