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The Architecture of the Italian Renaissance

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The Architecture of the Italian Renaissance •••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. Copyright© 1963, 1969, 1986 by Peter /\1urray All right<; reserved under lnternltion:1 1 :ind Pan-A meti<':u1 Copyrighr Convenrions. Published in the United States by Srhocken Books fnc., New York. Distributed by Pantheon Books. a divisio11 of Random House, Inc., New York. O n gmally published in diflCrtnt form as 77,e Architecture cf the Renaissdure in Great Britain by B.T. Bat.sford Ltd., Lo ndon, in 1963. Thi< ed1Cio n first published in Grear 13ritain by T hames&· Hud­ son, London, and by Schockeu Book.s Jnr.. New York. in 1986. Published by arrangl·mcm with Th:une,:; &: Hudson, London Library of Congress Camloging-in-Publicacion Dara J\1urray, Peter, 1920- Thc; archit~cture or the ltal.i<111 Renaissance. Reprint. Orig111ally published: London: T h,unes :md Hud.son, 1969. Bibliography: p. Includcs rndex. I. Architecture-1~,Jy. 2. Architecnm,, R cnajss;incc~ltaly. I. Title. NAIUS./\18 !986 720'.945 85-26243 • I SUN 0-8052- 1082-2 Pnntt.~d m lhc Uniled St.ates of Attu.·nca f '97]9876 Contents lncroduccion 7 CHAPTER ONE 15 Ro111ancsgue and Gothic in Tuscan y Tiu· uew teh:{!ious Or,lers · expmuio,1 (!_( French G()t/ti( · per5isteuu: l!f' dass;cal ,:rt · Assisi · Ci.{trrt1a11 clwrthes · f-forrn1iue Corhic CHAPTER TWO 31 Urunellesch1 The• dome cf Fforl'nre C,ulr<1dral · IJnml'llrschi's sc,/utio11 · Fomulli11g Ho spii,1/ S. Lor1'11:z:,, · Pazi:i Chapel· Sra ,\1,iria d~~/i Aug<'ii • St,, Spirito CHAPTER THREE 51 Alberti AlbalJ· mrd Hrimmii:m, , Vitru,1ius · R1'mini · F/ort,uce. Sta J\11.nri,1 1:V'o11ella ..\1mtlua, S . Seb,ist1mw, S . Audrea CMAPTEJl FOUR 63 Palace design in Florence, Venice and else"vhere Plcremi11e socleq,: Gmlds · B,•~S?tlfo · Prlfoz.zo /)m 1anz,ui • the 1\4Fdici /Jalacr · Rucellai and /Jiui Pa/ares · f>i,•11za · Rome, Palazz,• Veuezit1 a11d Cmuelleria · UrM,w, Dutal l\1/,ue · , ,,,enin.~ : t)'pic<1I l"eHt'tfon paltire 1lri(q11 · tht Lomlurrdi, Codu;si . S. A1idlfh' in Isola, S. Sa/i,,11ort · G. da Sa11.~<1llo, Sta J\1,,ria d,·lle Carreri, Prmo CHAPTER FIVE 105 Milan: Filarete, Leonardo, Bran1ante :\llidu·fozza ;,, Alfi/au · Filarete and Iris trearisr · Leonardo da Vind, ceutralf), pla,mt•d d111rd1 de~·,~t1 · JJrmnmue in i\1il,m CHAPTER SIX 121 B rarn.tnte in Rome: St Peter's Julius II • Sra 1\1nria ddla Pate· 1he Ttmp,ell<> · mart)•na ,md basilicas · 1lw [-louse of Rttphat/ · J\ iru, St Pet('r's · later versfous cy· the plou CHAPTER SEVEN l 43 Raphael and Giulio Romano Raphael as Brauumte's pnptl · hh; ,vorks in Rome · .\fmmeti."111 · Flon:na' . Prt/,r;:;:o Pa1tdo//i11i · R,,,ne. I "il/n ,v!ndnma • Gi11/io R. ~mrt11<> a, 1\ln1111w CHAPTER EIGHT 161 Peruzzi and Anconio da Sangallo the Younger Prrri-t ::, 's I ·;/JcJ F,u'n£·sina muf l'alaz 4~, .\ltl$$imi iu Rome · S,1,1.S!dll<l 's Palo:: ::o FarneH' CHAPTER NINE 171 Michelangelo ,\fidrel,mJ!efo', 11rd1i1crtural w,irk.< i11 Flort11cr · S. L,>rnr;:e, rit e· ,1/rdici Ch,,pd a11d Bibli«naa J..aur,·11z-1a,J.a · /11s R<1t,wn 1r,vrks · S1 Percr'$, rlu~ Capil<l/ CHAPTER TEN T8J Sann1icheli and Sansovino S,mmidu·li's 111,,rk t11 1',·ro u<J · S1m$m•iu<1 ':s wnrks in I ·,·uir,• CHAPTER ELEVEN 19 5 Serlio, Vignola, and the lace sixteenth century S1 1 rlfo'.~· tn-atisc · ir~flucncc> ou Eur~p(' · I ·,g,J(lla's w,,rk.~ w Remit' · ( 'igm.,/11°J rn•.,rise · Ddl,, Plu'/d tittd Del Duc,1 · Si.nu,( I .. -' rc,11 1n-pl,uwiu.~ CHAPTER f\VEL VE 207 Florentine Manneriscs: Palladio .-lm,1m1,ui · rl,e P,rri Pafocc · Iii.- Cllmlfet -R<~f~mu,uh>n mriwdc · I ·a.,:an as 11rd111u1 , 1hc l11iz, · But>Jllakutr · P<11/adw · /us. 111r111ngs · his H't.>rJ,u m 1·ut·uz-d · f ·,·uia•, S. r.ior;~io .\I a,,c._t?ion- .md dre Rcdc>ml>rt• CHAPTER THIRTEEN 224 Villas: Vignola and Palladio .--l11r11·,u 11il!.zs · Rcmu , I "1)!,r.J/11 · .Vft·dici 11ill,1,, Sdt1mirl1('/i. ,wd S,m5v1Ji11,1 · P11ll,1d{()\ ,,;JI<,~ m rhc 1·c11c10. Ti11c>li mui Frd.,rmi ,· T!w I ·j/J,1 Af<l,,hrm,Jiui Notes to cexc 03- -I Bibliographical note 239 Acknovv ledgn1encs '4- "J List ot illuscrations 244 Index 250 Introduction Most people are overa\ved by the great Gochie cathedrals; the experience of ,valking round Canterbur y or Chartres 1nust often have given rise to the feeling that the pleasures of architecture are both real and worth cultivating. St Peter's in Rorne or St Paul's in London do not have the Sa rne effect on everyone, and fo r this reason n1any people feel that Renaissance and Daroque architecture are not for then1. There is a simple explanation for this difliculty in understanding, si nce Renaissance architecture requires kno\\:ledge on the part of the; spectator as \vell as a readiness to accept it on its o,vn tern1s. Sor11c of the e1notions aroused by a Gothic cathedral derive fro1n the associations of the p lace rather than fron1 its actual forn1, although the splendour of the stained- glass ,vindov,;s and the g reat ~oar in g vaults overhead profound! y reinforce the historical and devotional associations. Renaissance architecture n1 ust be experienced as archi­ tecture, and it is only honest to say that it is no easier (and no 111ore difficult) co understand it than it is to understand a Bach fugue. ln the first place, Renaissance architecture, as its narne implies, is a deliberate revival of the ideas and practices of the architects of classic,1I antiquity and, in point of foct, it n1ay be said that Renaissance :irchitectnre is Ron1an, since classical Greek architecture ,vas al111ost unknown in ,vesten, Europe before the eighteenth century. A Ro1nan or Renaissance building depends for its effect upon very subtle adjustments of ver y sin, pie 11,asscs, and both arc based on the ,nodular systen1 of proportion. The 111odulc is defined as half the dia1ncter of the colu1t1n at its base and the whol<: of a classical building depends upon this initial proportion. Occasionally the dian1cter itself is used as the standard of proportion: in eithe·r case ic is scale that is in1portant, not actual di1nensions. Thus, if a te111plc is based on a colonnade of Corinthian colu1nns and each coh111111 is 2 feet in dian,eter, the rnodule will be L foot, the height of thr colu,nn itself \viii be about 18-21 feet (since a certain variation is licit), and the height of the colu1nn and capital vvill detennine rhc height of the cntablature, and thus of the building as a vvhole. Si1nilarly. the length and width of 7 the building \Vill be retern1ined by the n1odule, since it fixes not on! y the size of the colu1nn but also - again ,vi thin lin1its- the an1ount of space between each colt1n111. Fro1n all this it follo,vs that every detail of a classical building is related to every other detail, and in practice the whole building is proportioned to the hu1nan body, sii,ce the colun1n itself was thought of in antiquity as being like a hu1nan body and frequently proportionate to it in height. Together ,vith the relationship ofall the pa r ts the classica 1a rchitect sought for sy1nrnetry and harmony, so that in a blank ,,va]I pierced by three ,vindcn,,s be would be careful co sec chat the height of the ,vall ,vas proportioned to its vvidth, that the openings were pierced syn11netrically ,vi thin it, and that the shape of the rectangle of the ,vindo,v bore so1ne satisfactory relationship to the shape of the \Vall as a ,vhole.
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