INTRODUCTION

1.

Rediscovery of the Antique
Vitruvius, De Architetura (late C1 BC) and Roman architecture; Brunelleschi in Rome, c.1402 and later

2.

Beauty and Progress
Aquinas, Summa Theologica, c.1245; Alberti, De Re Aedificatoria, 1443-52; Ghiberti, Comentarii, c.1447-55; Brunelleschi and perspective

PART I: CHURCHES

3.

Early Renaissance: Brunelleschi, Old Sacristy, S Lorenzo, Florence, 1421-28; Pazzi Chapel, Sta Croce, Florence, c.1433-36; Sta Maria degli Angeli, Florence, 1434; Alberti, S Sebastiano, Mantua, 1460

4.

High Renaissance: Leonardo, Studies, c.1490; Bramante, Tempietto, S Pietro in Montorio, Rome, 1502-11, St Peter's, Rome, 1506

5.

Mannerism: Serlio, Architettura, vol 1, 1542, vol 5, 1551; Vignola, S Andrea in via Flaminia, Rome, 1544, S Anna dei Palafrenieri, Rome, 1572/3

6.

Baroque: Longhena, Sta Maria della Isola, Venice, 1631-87; Pietro da Cortona, SS Martina e Luca, Rome, 1635-50; Borromini, S Carlo alle Quattro Fontane, Rome, 1638 , S Ivo della Sapienza, Rome, 1642-50; Bernini, S Andrea al Quirinale, Rome, 1658-70; Guarini, S Lorenzo, Turin, 1666-87, Chapel of the Holy Shroud, Turin, 1667-94

7.

Rococo: Juvarra, Monastic Church at Superga, nr Turin, 1717-31; Sardi, Sta Maria del Rosario, Marino, 1720

8.

Early Renaissance: Brunelleschi, Sto Spirito, Florence, 1434-36; Alberti, Tempio Malatestiana, Rimini, 1450, Sta Maria Novella, façade, Florence, 1456-70, S Andrea Mantua, 1470 - and some problematic Renaissance façades

9.

High Renaissance: Bramante, Sta Maria presso S Satiro, Milan, 1470s Mannerism: Michelangelo, Project for façade of S Lorenzo, Florence, 1517; Vignola, Il Gesù, Rome, 1568 ; Giacomo della Porta, Façade of Il Gesù, Rome, 1573

10.

Baroque: Maderno, Sta Susanna, façade, Rome, 1597-1603; St Peter's, nave and façade, Rome, 1636-12; Pietro da Cortona, Sta Maria della Pace, façade, Rome, 1656-57, Guarini, Unidentified project, c.1670

11.

Rococo: Massari, Chiesa dei Gesuate, Venice, 1726-43; Galilei, S Giovanni Laterano, façade, Rome, 1732-36; Fuga, Sta Maria Maggiore, façade, Rome, 1741-43; Gregorini and Passalacqua, Sta Croce in Gerusalemme, façade, Rome, 1741-44; Vittone, S Chiara, Brà, 1742

12.

Baroque: Borromini, S Philippo Neri, Rome, 1637-43 Rococo: Passalacqua, SS Annunziata, Rome, 1744-6

13.

High Renaissance: Michelangelo, Sistine Chapel ceiling, Vatican, Rome, 1508-10 Mannerism: Michelangelo Last Judgement, Sistine Chapel altar wall, Vatican, Rome, 1536-41; Corregio, Dome, S Giovanni Evangelista, Parma, 1520-24, Dome, Parma Cathedral, 1526-30

14

Baroque: Lanfranco, Dome, S Andrea della Valle, Rome, 1625-27; Bernini, Cornaro Chapel, Sta Maria della Vittoria, Rome, 1645-52; Baciccio, Vault, Il Gesù, Rome, 1676-79; Pozzo, Vault, S Ignazio, Rome, 1691-94
Rococo: Tiepolo, Translation of the Holy House, church of the Scalzi, Venice, 1744, Institution of the Rosary, church of the Gesuate, Venice

DISCUSSIONS

15.

Why are architectural historians primarily interested in churches at these periods? Relate your answer to the phenomenon of the central plan and the problem of the façade.

16.

How did the concept of space change and develop throughout these periods? Does church decoration contribute anything to this development?

PART II: TOWN PLANNING

18.

Renaissance: Alberti, De Re Aedificatoria, 1443-52; Filarete, Sforzinda, treatise, Milan, 1465; Sansovino, Piazza and Piazzetta, Venice, 1529 ; Laurana, Ideal City, Urbino, c.1450-75; Perugino, Giving the keys to St Peter, Sistine Chapel wall, Vatican, Rome, 1481

19.

Mannerism: Michelangelo, Campidoglio, Rome, 1538-64 Baroque: Bernini, St Peter's Piazza, Rome, 1656 ; Fontana, Project for St Peter's Piazza, Rome, 1694 Rococo: Raguzzini, Piazza di S Ignazio, 1727

20.

Renaissance: Michelozzo, Palazzo Medici, Florence, 1444 ; Alberti, Palazzo Rucellai, Florence, c.1455-60; Palazzo Corner-Spinelli, Venice, c.1480; Bramante, House of Raphael, Rome, c.1512

21.

Mannerism: Romano, Palazzo Maccarani, Rome, c.1520, Giulio's own house, Mantua, c.1540; Sanmichele, Palazzo Bevilacqua, Verona, c.1530; Peruzzi, Palazzo Massimo delle Colonne, Rome, 1532 ; Antonio da Sangallo & Michelangelo, Palazzo Farnese, Rome, 1541 ;

22.

Baroque: Bernini, Palazzo Chigi-Odescalchi, Rome, 1664 , Projects for the Louvre, 1664-66; Guarini, Palazzo Carignano, Turin, 1679

23.

Rococo: Juvarra, Palazzo Madama, Turin, 1718-21; Valvassori, Palazzo Doria-Pamphili, Rome, 1730-35; Fuga, Palazzo Cenci-Bolognetti, Rome, c.1745, Palazzo della Consulta, Rome, 1732-7; Bolli, Palazzo Litta, façade, Milan, 1745

24.

Renaissance (landscape and gardens): Mantegna, Camera Picta, Ducal Palace, Urbino, 1465-74 Baroque (apotheosis): Pietro da Cortona, Triumph of the Barberini, Palazzo Barberini, Rome, 1633-39; Maratta, Triumph of Clemency, Palazzo Altieri, Rome, 1670s; Giordano, Apotheosis of the Medici Dynasty, Palazzo Medici-Ricardi, Florence, 1682-83

25.

Mannerism: Sansovino, Library, Venice, 1537 ; Palladio, The Basilica, Vicenza, 1549 Rococo: de Sanctis, Spanish Stairs, Rome, 1723-5; Salvi, Trevi Fountain, Rome, 1732-62

DISCUSSION

26.

What drove the increasing interest in and elaboration of the town house (or palace) at these periods? What ideas were taken over from church design and how were they adapted? Are there any concepts which appeared in palaces before they appeared in churches?

PART III: THE HUMANIST VILLA

27.

Ovid, Fasti, 2-8 AD; Vergil, Eclogues, 42-37 BC; Pliny, Naturalis Historia, book 35, 79AD; Pompeiian wall paintings, 79 AD (excavations began 1748); Poussin, Landscape with the Burial of Phocion, 1648; Marsilio Ficino and the Platonic "Academy", Florence, c.1462-99

28.

Early Renaissance: Guiliano da Sangallo, Villa Poggio a Caiano, 1480s Mannerism: Sansovino, Villa Garzone, Pontecasale, c.1540; Palladio, Villa Maser, c.1560 Rococo: Preti, Villa Pisani, Stra, 1725-56

29.

Mannerism: Veronese, Villa Maser, 1560s Baroque: Domenichino, Villa Androbrandini, Frascati, 1616-18 Rococo: Tiepolo, Villa Valmarana, Vicenza, 1757

30.

High Renaissance: Bramante, Cortile Belvedere, Vatican, Rome, 1505 Mannerism: Raphael, Villa Madama, Rome, c.1516 ; Romano, Palazzo del Te, Mantua, 1525 ; Vignola, Villa Giulia, Rome, 1551 ; Ligorio, Villa d'Este, Rome, c.1565-72

31.

Rococo: Juvarra, Royal Hunting Palace, Stupingi, 1729-33

32.

Mannerism: Peruzzi, Villa Farnesina, Rome, 1509-11; Palladio, Villa Rotonda, Vicenza, c.1550; Ligorio, Casino di Pio IV, Rome, 1559 Baroque: Pietro da Cortona, Villa Pigneto, Rome, 1629 Rococo: Marchionni, Villa Albani, Rome, 1748-62

32.

Renaissance: Peruzzi, Sala delle Prospettive, Villa Farnesina, 1509-11 Mannerism: Raphael, Sala di Psiche, Villa Farnesina, 1518-19; Baroque: Reni, Casino Rospigliosi, Rome, 1613-14; Guercino, Casino Ludovisi, Rome, 1621; Lanfranco, Villa Borghese, 1624-25

DISCUSSION

33.

What connections can you see between the Humanist villa and poetry? What universal issues does the poetry address, and how do these issues compare with biblical ones? Demonstrate and account for the relationship between church design and villa design.

CONCLUDING DISCUSSIONS

35.

Authenticity for an unauthentic purpose (churches), and its knock-on effect on town planning, palace and villa design.

34.

Brunelleschi, Bramante, and Pietro da Cortona stand at the beginning of their periods. Each was a Classical purist and reformer, each was addressing the same conundrum. Why does their architecture look different?

35.

The Early Renaissance marked a dramatic change in world view, a political revolution which allowed ordinary people to believe they could affect their own destinies. The last time people felt like that was in Roman times. Is it a coincidence that Roman ideas and architectural forms were adopted in the Early Renaissance? We have looked at three cycles of reform, innovation, elaboration and exhaustion. The next cycle (neoclassicism) was abandoned in its infancy. What dramatic change in world view occurred during the later 18th century which could account for this? What architectural style was revived in its place?