DOCSLIB.ORG

Architecture). Italian Renaissance Architect Based Their Theories and Practices on Classical Roman Example. the Renais

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Architecture). Italian Renaissance Architect Based Their Theories and Practices on Classical Roman Example. the Renais John - )Architecture). Italian Renaissance architect based their theories and practices on Classical Roman example. The Renaissance revival of Classical Rome was as important in architecture as it was in literature. A pilgrimage to Rome to study the ancient buildings and ruins, especially the Coliseum and Pantheon, was considered essential to an an architect’s training. Classical orders and architectural elements such as columns, pilasters, pediments, entablatures, arches, and domes form the vocabulary of Renaissance buildings. Vitruvius’s writing on architecture also influenced the Renaissance definition of beauty in architecture. As a classical world, Renaissance architecture is characterized by harmonious form, mathematical proportion, and a unit of measurement based on the human scale. During the Renaissance, architects trained as humanist helped raised the statues of their profession from skilled labor to artist. They hope to create structures that would both appeal to both emotion and reason. Three key figures in Renaissance architecture were Filippo Brunelleschi, Leon Battista Alberti, and Andrea Palladio. (Brunelleschi) Filippo Brunelleschi (1377–1446) is widely considered the first Renaissance architect. Trained as a goldsmith in his native city of Florence, Brunelleschi soon turned his interests to architecture, traveling to Rome to study ancient buildings. Among his greatest accomplishments is the engineering of the dome of Florence Cathedral (Santa Maria del Fiore also known as the Duomo). He was also the first since antiquity to use the classical orders Doric, Ionic, and Corinthian in a consistent and appropriate manner. (Literature) In the early Renaissance, especially in Italy, much of the focus was on translating and studying classic works from Latin and Greek. Both the cultures were highly admired in the Renaissance, especially after the newly labeled Dark Ages. Renaissance authors were not content to rest on the laurels of ancient authors, however. Many authors attempted to integrate the methods and styles of the ancient greats into their own works. Among the most emulated Romans are Cicero, Horace, Sallust, and Virgil. Among the Greeks, Aristotle, Homer, Plato, and Socrates were also heavily emulated by Renaissance authors. The literature and poetry of the Renaissance was also largely influenced by the developing science and philosophy. The humanist Francesco Petrarch, a key figure in the renewed sense of scholarship, was also an accomplished poet, publishing several important works of poetry. He wrote poetry in Latin, notably the Punic War epic Africa, but is today remembered for his works in the Italian vernacular, especially the Canzoniere, a collection of love sonnets dedicated to his unrequited love Laura. He was the foremost writer of sonnets in Italian, and translations of his work into English by Thomas Wyatt established the sonnet form in that country, where it was employed by William Shakespeare and countless other poets. Petrarch's disciple, Giovanni Boccaccio, became a major author in his own right. His major work was the Decameron, a collection of one hundred stories told by ten storytellers who have fled to the outskirts of Florence to escape the black plague over ten nights. The Decameron in particular and Boccaccio's work in general were a major source of inspiration and plots for many English authors in the Renaissance, including William Shakespeare. Aside from Christianity, classical antiquity, and scholarship, a fourth influence on Renaissance literature was politics. The political philosopher Niccolò Machiavelli is an important Italian author. His most famous work is The Prince, which has become so well-known in Western society that the term "Machiavellian" has come into use, referring to the self-serving attitude advocated by the book. However, most experts agree that Machiavelli himself did not fully embrace the tactics in his book, making "Machiavellian" a slightly inaccurate term. Regardless, along with many other Renaissance works, The Prince remains a relevant and influential work of literature today. Additionally, many sixteenth-century authors such as Christopher Marlowe, Edmund Spenser, and William Shakespeare expressed spiritual conflict through their writing. Spenser's Faerie Queene, for example, depicts the struggle of a staunchly Protestant knight of Holiness against the forces of Roman Catholicism. (Religion) Perhaps the most prominent religious moment in Renaissance history was the Protestant Reformation, launched by Martin Luther in Germany. Believing that the Roman Catholic Church of his day had turned from a Biblical understanding of faith and salvation, particularly in its practice of selling indulgences, Luther posted his historic Ninety-Five Theses on the door of the Wittenberg Castle Church in 1517 and thereby birthed religious revival across Europe. The Reformers (known as "Protestants") called Christians back to four main points: (Cultural Events) The dome was not built Dayantez - ( Materials for building ) until the early 15th century, when Filippo Brunelleschi, a goldsmith and sculptor, began to make statues for the cathedral. Gradually he became interested in the building itself and built some smaller parts of it. In about 1415 he prepared a design for the dome that he daringly proposed to build without the aid of formwork, which had been absolutely necessary in all previous Roman and Gothic construction. He built a 1:12 model of the dome in brick to demonstrate his method; the design was accepted and built under his supervision from 1420 to 1436. Brunelleschi was thus the first real architect to conceive the building’s form and the methods to execute it and to guarantee its performance; he pointedly refused membership in both the masons’ and carpenters’ guilds. Brunelleschi’s dome consists of two layers, an inner dome spanning the diameter and a parallel outer shell to protect it from the weather and give it a more pleasing external form. Both domes are supported by 24 stone half arches, or ribs, of circular form, 2.1 meters (7 feet) thick at the base and tapering to 1.5 metres (5 feet), which meet at an open stone compression ring at the top. To resist outward thrust, tie rings of stone held together with metal cramps run horizontally between the ribs. There are also tie rings of oak timbers joined by metal connectors. The spaces between the ribs and tie rings are spanned by the inner and outer shells, which are of stone for the first 7.1 metres (23 feet) and brick above http://www.erasofelegance.com/history/renaissancearts.html Qiana - ( What sweet stuff they had? ) Gingerbread, cakes, pastries and honeyed fruits were deserts mostly ate at special events . Apple tart, Jam tart , Clove tart , Fresh fruit , Apple jelly, & Gohier waffles. They ate pears in mead too . Mead is an alcoholic drink of fermented honey and water. Daily life ; Women wore long gothic style dresses. Dresses gradually got rid of the long trains, & became long flowing skirts. Jousting was the main sport at the time(Men rode horses and tried to knock eachother off with long rods) Arts&Literature ; Science&Technology ; Shakerra - ( How to start a sweet shop? What they needed to have a business? ) Whether it's jelly beans, chocolate or bubblegum, people young and old, in large metropolitan cities and small rural areas enjoy eating candy. Candy stores are a business that can be run in many ways, and it is a feasible venture to start for both new and experienced entrepreneurs. Running a candy store can be exciting and profitable, but to be successful, you must carefully plan the launch and growth of your business. Step 1 Select a niche for your candy store business. For instance, you can specialize in selling organic candy, gourmet chocolates, homemade confections, or old-fashioned and nostalgic candies. Step 2 Write a business plan to serve as a blueprint while growing your business – a thorough plan is also essential if you plan to get a loan. Your business plan should include a detailed explanation of your niche and target market, three-year expense budget and profit projections, marketing and public relations plans, analysis of competition and demand for your product. Step 3 Get the permits required in your state to start a retail business. Depending on where you live, this may include an Employer Identification Number, state Tax Identification Number, resale permit or fictitious name certificate. Step 4 Contact your state's health department to find out what licenses are needed to start a food business. If you are buying candy wholesale, you may not need to get anything, but if you plan to make your own candies, you may need food manager certification, rental of a commercial kitchen, a food handler permit or food enterprise license. Step 5 Open wholesale accounts with candy distributors, if you will not be making your own candy. Buying candy wholesale will save you money and allow you to mark up your selling prices. Buy ingredients, flavorings and packaging wholesale, if you will produce your own confections. Step 6 Lease or buy a storefront for your candy store. Alternatives include a shopping center or mall kiosk, e- commerce store or vending booth at a special event, fair, carnival or festival. Step 7 Develop services and products to attract customers, such as candy bouquets, delivery of custom candy gifts and candy-dipped fruits. Step 8 Market your candy store business. Send news releases to local newspapers, publications and media outlets, launch a promotional website and open social networking accounts to connect with existing and potential customers. Antonio - ( Prices for products ) The standard unit of currency since medieval times has been the pound (£). A pound was 20 shillings (s), and a shilling was 12 pence d, for denarius or the Roman penny), so a pound also was equivalent to 240 pence. Because the early currency was not decimalized you had to add up each unit of currency separately in this format: £ 2.11.3 using modern Arabic numbers--see below, which would be spoken two pounds, eleven shillings and threepence, or two-pounds-eleven- three.
Load more

Recommended publications
  • Aynemateriality, Crafting, and Scale in Renaissance
    Materiality, Crafting, and Scale in Renaissancealin Architecture a ayne Alina Payne Materiality, Crafting, and Scale in Renaissance Architecture1 Alina Payne 1. This article draws from a series of lectures given at the INHA and EPHE, Paris in June 2008 and will form a part of my upcoming book on the Materiality of Architecture in the Renaissance.Iam On the whole twentieth-century Renaissance architectural scholarship has paid grateful to Sabine Frommel who first gave me the little attention to architecture’s dialogue with the other arts, in particular with opportunity to address this material by inviting 2 me to Paris, and to Maria Loh and Patricia Rubin sculpture and the so-called minor arts. The fact that architects were also for inviting me to develop this argument further. painters, sculptors, decorators, and designers of festivals and entries, as well I am also grateful to David Kim, Maria Loh, and as makers of a multitude of objects from luxury items to machines, clocks, the anonymous reviewers who offered very useful measuring and lifting instruments, in many different materials has also comments to an earlier draft. dropped out of attention. Indeed, broadly involved in the world of objects – 2. Among the last publications to take a holistic large and small, painted or drawn, carved or poured – architects were view of Renaissance architecture was Julius Baum, Baukunst und dekorative Plastik der fru¨heren highly conversant with a variety of artistic media that raise the question as to Renaissance in Italien (J. Hoffman: Stuttgart, what these experiences contributed to the making of buildings. For example, 1926).
    [Show full text]
  • Renaissance Architecture History of Architecture
    Renaissance Architecture History of Architecture No’man Bayaty Introduction • The Renaissance movement was a grand scale movement in art, literature sculpture and architecture. • The time in which it spread between 15th century and 17th century, was a time of movement in philosophy, science and other ideas. • At this time Europe was made of many small states united or trying to get united under larger kingdoms. • The Italian cities were independent, each with its special culture. • The Holy Roman Empire was quite weak, and the so were the Popes. • Local cultures were rising, so were local national states. • Europe lost Constantinople in 1453 A. D. but got all of Spain back. Introduction • Scientific achievements were getting more realistic, getting away from the mystical and superstitious ideas of the medieval ages. • The Christian reformation led by Martin Luther in 1517 A.D. added more division to the already divided Europe. • Galileo (1564 – 1642 A. D.) proved the earth was not the center of the universe, but a small dot in a grand solar system. • Three inventions had a great influence, gunpowder, printing and the marine compass. Introduction Introduction • Renaissance started in Italy. • The Gothic architecture never got a firm hold in Italy. • Many things aided the Italians to start the Renaissance, the resentment to Gothic, the discovery of new classical ruins and the presence of great Roman structures. • The movement in art and sculpture started a century before architecture. • The movement was not a gradual development from the Gothic, like the Gothic did from Romanesque, but was a bit more sudden and more like a conscious choice by artists and architects.
    [Show full text]
  • Romanesque Renaissance – Introduction
    Romanesque Renaissance – Introduction Konrad Ottenheym ‘Look at this majestic building with all its columns, and now you can imagine how many slaves these Roman emperors must have used to build it!’, I heard a tourist guide explaining to his group on the Piazza Venezia in Rome in 2016, as he pointed to the imposing marble monument to Vittorio Emanuele II. The Altare della Patria, symbol of the unified Italian kingdom of the nineteenth cen- tury, is in fact barely a century old, having been built in 1895–1911.1 Apparently, even in our time it is not always easy to make out the refined differences be- tween genuine ancient Roman architecture and later works of art which were meant to create a visual connection with the glorious past. Erroneous dating of old buildings, interpreting them as far older than they actually are, has hap- pened in all centuries. From the fifteenth century onwards, antiquarians, humanist scholars, ar- chitects and artists, striving for a revival of the architectural forms and prin- ciples of Ancient Rome, investigated respectable ruins and age-old buildings in order to look for useful models and sources of inspiration. They too, oc- casionally misinterpreted younger buildings as proofs of majestic Roman or other ancient glory. This especially was assumed for buildings that were con- sciously inspired by ancient Roman architecture, such as the buildings of the Carolingian, Ottonian and Stauffer emperors. But even if the correct age of a certain building was known (Charlemagne’s Palatine Chapel in Aachen, for example), buildings from c. 800–1200 were sometimes regarded as ‘Antique’ architecture, since the concept of ‘Antiquity’ was far more stretched than our modern periodisation allows.
    [Show full text]
  • 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'.
    [Show full text]
  • Architectural Styles in Spain.Pdf
    These presentations are examples of our work on Romanesque, Gothic, Renaissance and Baroque art styles. Students have made this activity with the purpose of learning the main characteristics of each style, mainly focused on architecture and also a little of sculpture and painting as a complement. So that’s why students write about the main characteristics of each style and illustrate it with examples. TIEHA ARCHITECTURAL STYLES Romanesque Gothic Renaissance Baroque Names: Núria Gassó, Kiona Gil, Ikram maaroufi & Aina Canosa Year: 3rd A Subject: History Date: INDEX ● ROMANESQUE ● GOTHIC ● RENAISSANCE ● BAROQUE ROMANESQUE Sant Martí de la Cortinada, Andorra 1. Romanesque introduction 11th - 13th 1.2 ROMANESQUE ARCHITECTURE Buttress Round arch Depth walls Few windows Barrel vault Latin cross plan Capital Rib vault EXAMPLES Church of San Martin, Segovia, Spain Sant Climent de Taüll Cantabria GOTHIC 2. GOTHIC INTRODUCTION 12th - 15th 2.2 GOTHIC ARCHITECTURE Pinnacle Flying 2 towers buttress Rib vault 3 spaces buttress Pointed floor plant arches Pillar church Examples Santa Maria del Mar church, Barcelona The Cathedral of Notre Dame, The Cathedral of St. John the Baptist, Paris Savannah, Neogothic style (Georgia, United States) RENAISSANCE 3. RENAISSANCE INTRODUCTION 15th 16th Antropocentrism 3.1. RENAISSANCE ARCHITECTURE Ceilings Columns Dome SYMMETRY & PROPORTION Proportion, harmony and humanism Human Proportion Symmetry in Basilica of Saint Andrea QUATTROCENTO dome lighter latin cross The birth of Venus by Sandro Botticelli. Gates of Paradise of Florence Cathedral by Ghiberti. CINQUECENTO Tempietto’s ground plan The creation of Adam, Sistine Chapel Villa Rotunda Leonardo Da Vinci The School of Athens by Raphael. IN SPAIN: PLATERESQUE (1st/3 of the 16th century) ● Inside: Gothic ● Outside: Renaissance ● Abundant and detailed decoration: Silversmith San Esteban Church (Salamanca) IN SPAIN: PURIST (2nd/3 of the 16th century) ● Pure, simple and proportional (as italian).
    [Show full text]
  • Palladio and Vitruvius: Composition, Style, and Vocabulary of the Quattro Libri
    LOUIS CELLAURO Palladio and Vitruvius: composition, style, and vocabulary of the Quattro Libri Abstract After a short preamble on the history of the text of Vitruvius during the Renaissance and Palladio’s encounter with it, this paper assesses the Vitruvian legacy in Palladio’s treatise, in focusing more particularly on its composition, style, and vocabulary and leaving other aspects of his Vitruvianism, such as his architectural theory and the five canonical orders, for consideration in subsequent publications. The discussion on composition concerns Palladio’s probable plans to complete ten books, as an explicit reference to Vitruvius’ treatise. As regards style, the article highlights Palladio’s intention to produce an illustrated treatise like those of Francesco di Giorgio Martini, Sebastiano Serlio, and Giacomo Barozzi da Vignola (whereas the treatise of Vitruvius was probably almost unillustrated), and Palladio’s Vitruvian stress on brevity. Palladio is shown to have preferred vernacular technical terminology to the Vitruvian Greco-Latin vocabulary, except in Book IV of the Quattro Libri in connection with ancient Roman temples. The composition, style, and vocabulary of the Quattro Libri are important issues which contribute to an assessment of the extent of Palladio’s adherence to the Vitruvian prototype in an age of imitation of classical literary models. Introduction The De architectura libri X (Ten Books on Architecture) of the 1st-Century BCE Roman architect and military engineer Marcus Vitruvius Pollio was a text used by Andrea Palladio (1508-1580) and many other Renaissance architects both as a guide to ancient architecture and as a source of modern design. Vitruvius is indeed of great significance for Renaissance architecture, as his treatise can be considered as a founding document establishing the ground rules of the discipline for generations after its first reception in the Trecento and early Quattrocento.1 His text offers a comprehensive overview of architectural practice and the education required to pursue it successfully.
    [Show full text]
  • Italian Humanism Was Developed During the Fourteenth and the Beginning of the Fifteenth Centuries As a Response to the Medieval Scholastic Education
    Italian Humanism Was developed during the fourteenth and the beginning of the fifteenth centuries as a response to the Medieval scholastic education • Growing concern with the natural world, the individual, and humanity’s worldly existence. • Revived interest in classical cultures and attempt to restore the glorious past of Greece and Rome. Recovering of Greek and Roman texts that were previously lost or ignored. • Interest in the liberal arts - grammar, rhetoric, poetry, history and moral philosophy. • Promotes human values as distinct from religious values, mainly Roman civic virtues: self-sacrificing service to the state, participation in government, defense of state institutions. Renaissance architecture: Style of architecture, reflecting the rebirth of Classical culture, that originated in Florence in the early 15th century. There was a revival of ancient Roman forms, including the column and round arch, the tunnel vault, and the dome. The basic design element was the order. Knowledge of Classical architecture came from the ruins of ancient buildings and the writings of Vitruvius. As in the Classical period, proportion was the most important factor of beauty. Filippo Brunelleschi (1377 - 1446), Florentine architect and engineer. Trained as a sculptor and goldsmith, he turned his attention to architecture after failing to win a competition for the bronze doors of the Baptistery of Florence. Besides accomplishments in architecture, Brunelleschi is also credited with inventing one-point linear perspective which revolutionized painting. Sculpture of Brunelleschi looking at the dome in Florence Filippo Brunelleschi, Foundling Hospital, (children's orphanage that was built and managed by the Silk and Goldsmiths Guild), Florence, Italy, designed 1419, built 1421-44 Loggia Arcade A roofed arcade or gallery with open sides A series of arches supported by stretching along the front or side of a building.
    [Show full text]
  • Baroque Architecture
    '"" ^ 'J^. rfCur'. Fig. I. — Venice. S. Maria della Salute. (See pp. 88-90.) BAROQUE ARCHITECTURE BY MARTIN SHAW BRIGGS A.K.I. B. A. " iAulhor of " In the Heel of Italy WITH 109 ILLUSTRATIONS NEW YORK ; ' McBRIDE, NAST & COMPANY ^ y 1914 ,iMvMV NA (^Ay n^/i/j reserved) In all ages there have been some excellent workmen, and some excellent work done.—Walter Pater. PREFACE is commonly supposed that the purpose of a preface is to IT explain the scope of a book to those who do not read so far as the first page. There is a touch of cynicism in such an opinion which makes one loth to accept it, but I prefer to meet my troubles half way by stating at the outset what I have emphasized in my last chapter—that this book is not in any way an attempt to create a wholesale revival of Baroque Architecture in England. It is simply a history of a complex and neglected period, and has been prepared in the uncertain intervals of an architectural practice. The difficulty of the work has been increased by the fact that the subject has never been dealt with as a whole in any language previously. Gurlitt in his Geschichte des Barockstiles, published in 1887, covered a considerable part of the ground, but his work is very scarce and expensive. To students his volumes may be recommended for their numerous plans, but for details and general views they are less valuable. In recent years several fine mono- graphs have appeared dealing with Baroque buildings in specific districts, and very recently in a new international series the principal buildings of the period in Germany and Italy have been illustrated.
    [Show full text]
  • The Thin White Line: Palladio, White Cities and the Adriatic Imagination
    Chapter � The Thin White Line: Palladio, White Cities and the Adriatic Imagination Alina Payne Over the course of centuries, artists and architects have employed a variety of means to capture resonant archaeological sites in images, and those images have operated in various ways. Whether recording views, monuments, inscrip- tions, or measurements so as to pore over them when they came home and to share them with others, these draftsmen filled loose sheets, albums, sketch- books, and heavily illustrated treatises and disseminated visual information far and wide, from Europe to the margins of the known world, as far as Mexico and Goa. Not all the images they produced were factual and aimed at design and construction. Rather, they ranged from reportage (recording what there is) through nostalgic and even fantastic representations to analytical records that sought to look through the fragmentary appearance of ruined vestiges to the “essence” of the remains and reconstruct a plausible original form. Although this is a long and varied tradition and has not lacked attention at the hands of generations of scholars,1 it raises an issue fundamental for the larger questions that are posed in this essay: Were we to look at these images as images rather than architectural or topographical information, might they emerge as more than representations of buildings, details and sites, measured and dissected on the page? Might they also record something else, something more ineffable, such as the physical encounters with and aesthetic experience of these places, elliptical yet powerful for being less overt than the bits of carved stone painstakingly delineated? Furthermore, might in some cases the very material support of these images participate in translating this aesthetic 1 For Italian material the list is long.
    [Show full text]
  • Republic Virtues in Architecture Thomas Jefferson's Use of Palladio
    THE NEW JERSEY ITALIAN AND ITALIAN AMERICAN HERITAGE COMMISSION Republic Virtues in Architecture Thomas Jefferson's Use of Palladio Grade Level: 9-12 Can be adjusted to accommodate grades 6-8 Subject: Art / Architecture / United States History / World Languages Categories: Arts and Sciences / History and Society Standards: Please see page 7 of the lesson plan for complete standards alignment. Objectives: Students will be able to: 1. determine why Thomas Jefferson used Palladian architecture to exemplify the republican nature of the United States. 2. synthesize researched data and produce a cogent ratiocination. 3. articulate the symmetric parallels found in late eighteenth-century architecture, art, music and the Constitution. Abstract: Page 1 of 13 Copyright 2010 – New Jersey Italian and Italian American Heritage Commission U3-LP-001 Key Terms: Inter alia Latin Among other things Meritocracy Greek A system in which advancement is based on individual ability or achievement. Republican Latin Having the supreme power lying in the body of citizens entitled to vote for officers and representatives responsible to them or characteristic of such government Symmetry Greek Exact correspondence of form and constituent configuration on opposite sides of a dividing line or plane or about a center or an axis. Background: More than most of the Founders, Thomas Jefferson viewed the American Revolution, not only as a War for Independence or as an experiment in republican government, he considered it a dramatic and ongoing cultural and societal change in human history. To Jefferson, the United States stood as the Novus Ordo Seclorum-- the New World Order. Republicanism, to Jefferson, was more than just a form of government; it was a way of life.
    [Show full text]
  • Palladio's Religious Architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2012 Palladio's religious architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Fresina, Katherine, "Palladio's religious architecture in Venice" (2012). LSU Master's Theses. 3335. https://digitalcommons.lsu.edu/gradschool_theses/3335 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PALLADIO’S RELIGIOUS ARCHITECTURE IN VENICE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts In The School of Art by Katherine Fresina B.ID. Louisiana State University, 2009 May 2012 Table of Contents ABSTRACT……………………………………………………………………………………………………………..iii CHAPTER 1 INTRODUCTION…………………………………………………………………………………………1 2 VENETIAN ARCHITECTURE………………………………………………………………………..5 3 PALLADIO’S LIFE……………………………………………………………………………………...18 4 SAN FRANCESCO DELLA VIGNA………………………………………………………………...30 5 SAN GIORGIO MAGGIORE…………………………………………………………………………..40 6 IL REDENTORE …………………………………………………………………………………………52 BIBLIOGRAPHY……………………………………………………………….………………………………..…….67
    [Show full text]
  • Conrad Thake
    THE MALTA HISTORICAL SOCIETY Researching, propagating and safeguarding Malta’s historical heritage since 1950 Proceedings of History Week 2013 HistoryWeek of Proceedings Proceedings of History Week 2013 SECOND COLLOQUIUM ON SPANISH-MALTESE HISTORY Edited by Joan Abela – Emanuel Buttigieg – Carmel Vassallo www.maltahistory.eu Proceedings of History Week 2013 Malta Historical Society Influences of the Spanish Plateresque on Maltese Ecclesiastical Architecture Conrad Thake Introduction Most historical accounts of Maltese architecture during the rule of the Order of St John (1530–1798) have to date focused almost exclusively on the influences of contemporary Italian and French architects. This is to be expected, as it is the natural outcome of the direct involvement of a number of Italian and French architects and military engineers who were engaged by the Order to oversee the design and construction of the island’s fortifications. However, given the historical influence exerted by the Aragonese prior to the arrival of the Order and, subsequently, the seminal political influences of both langues of Castile and Aragon during the Hospitaller period, it is worthwhile to explore any tentative relations and historical synergy that could be traced between Spanish and Maltese architecture.1 Back in 1967, during the ‘XV Congress on Architectural History’, the Spanish historian Adolfo Florensa had presented a brief paper entitled ‘L’Architettura di Spagna a Malta’, as part of the theme ‘Architecture in Malta from prehistory to the 19th century’.2 Almost half a century later, it is useful to revisit some of the observations made by Florensa and explore further with a view to establishing the extent and type of relationship, direct or otherwise, which one could draw between Spanish and Maltese architecture with reference to the period of the knights.
    [Show full text]