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Main architectural works Donato Bramante (1444 – 11 March 1514) was an Italian architect,  who introduced the Early Renaissance style to Milan and the High Santa Maria presso San Satiro, Milan, ca. 1482–1486  Renaissance style to Rome, where his most famous design was St. Santa Maria delle Grazie ...

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Donato Bramante (1444 – 11 March 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. Peter's Basilica.

Main architectural works



Santa Maria presso San Satiro, Milan, ca. 1482–1486



Santa Maria delle Grazie (cloister and apse); Milan, 1492–1498



Palazzo Caprini (also known as Raphael's House), Rome, started

[edit]Urbino and Milan around 1510 (demolished in the 17t century) Bramante's architecture has eclipsed his painting skills: he knew the



San Pietro in Montorio (also called the Tempietto); Rome, 1502

painters Melozzo da Forlì and Piero della Francesca well, who were



Santa Maria della Pace (cloister); Rome, 1504

interested in the rules of perspective and illusionistic features



St. Peter's Basilica, Rome, design 1503, ground breaking, 1506

in Mantegna's painting. Around 1474, Bramante moved to Milan, a city



Cortile del Belvedere, Vatican City, Rome, 1506.

with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually Plans for St Peter's Basilica his court architect, beginning in 1476, with commissions that culminated in the famous trompe-l'oeil choir of the church of Santa A draft for St Peter's superimposed over a plan of the ancient basilica Maria presso San Satiro (1482–1486). Space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is an octagonal sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie (1492–99); other early works include the cloisters of Sant'Ambrogio, Milan (1497–1498), and some other constructions in Pavia and possibly Legnano. However, in 1499, with his Sforza patron driven from Milan by an invading French army, Bramante made his way to Rome, where he was already known to the

Bramante's final plan

powerful Cardinal Riario. [edit]Career in Rome

In Rome, he was soon recognized in Cardinal Della Rovere, shortly to become Pope Julius II. For Ferdinand of Aragon and Isabella of Castile or possibly Julius II, Bramante designed one of the most harmonious buildings of the Renaissance: the Tempietto (1510) of San Pietro in Montorio on the Janiculum. Despite its small scale, the construction has all the rigorous proportions and symmetry of Classical structures, surrounded by slender Doric columns, surmounted by a dome. According to a later engraving by Sebastiano Serlio, Bramante planned to set it within a colonnaded courtyard. In November 1503, Julius engaged Bramante for the construction of the grandest European

The dome, as planned by Bramante

architectural commission of the 16th century, the complete rebuilding ofSt Peter's Basilica. The cornerstone of the first of the great piers of

Antonio da Sangallo the Elder

the crossing was laid with ceremony on 17 April 1506.

Madonna di San Biagio, Montepulciano, 1518 — consecrated 1529[1]

Antonio da Sangallo the Elder (c. 1453 – December 27, 1534) was

In a demonstration of Michelangelo's unique standing, he was the first

an Italian Renaissance architect who specialized in the design of

Western artist whose biography was published while he was alive.[2]

fortifications.

Architectural work

[edit]Biography

Antonio da Sangallo was born at Florence.

Michelangelo worked on many projects that had been started by other men, most notably in his work at St Peter's Basilica, Rome. The Campidoglio, designed by Michelangelo during the same period,

His father Francesco Giamberti was a woodworker, and his rationalized the structures and spaces of Rome's Capitoline Hill. Its brother Giuliano da Sangallo and nephew Antonio da Sangallo the shape, more a rhomboid than a square, was intended to counteract the Younger were architects. To a great extent he worked in partnership effects of perspective. The major Florentine architectural projects by with his brother, but he also executed a number of independent works. Michelangelo are the unexecuted façade for theBasilica of San As a military engineer he was as skilful as Giuliano, and carried out Lorenzo, Florence and the Medici Chapel (Capella Medicea) important works of walling and building fortresses and Laurentian Library there, and the fortifications of Florence. The at Arezzo, Montefiascone, Florence and Rome. His finest existing work major Roman projects are St. Peter's, Palazzo Farnese, San Giovanni as an architect is the church of San Biagio at Montepulciano, in plan dei Fiorentini, the Sforza Chapel (Capella Sforza) in the Basilica di a Greek cross with central dome, "the first of the great cinquecento Santa Maria Maggiore, Porta Piaand Santa Maria degli Angeli. domes to be completed".[2] and two towers, much resembling, on a small scale, Bramante's design for St. Peter's Basilica. Giacomo Barozzi da Vignola his other works includes he church of San Biagio at Montepulciano, the Forte Sangallo of Civita Castellana and the Old Fortress of Livorno.

Michelangelo di Lodovico Buonarroti Simoni[1] (6 March 1475 – 18 February 1564), commonly known as Michelangelo, was an Renaissance painter, sculptor, architect, poet, and engineer. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with fellow Italian Leonardo da Vinci. Two of his best-known works, the Pietà and David, were sculpted before he turned thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. As an architect, Michelangelo pioneered theMannerist style at the Laurentian Library. At 74 he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan, the western end

The five orders, engraving from Vignola'sRegola delle cinque ordini

being finished to Michelangelo's design, the dome being completed

d'architettura.

after his death with some modification.

Giacomo (or Jacopo) Barozzi (or Barocchio) da Vignola (often



simply called Vignola) (1 October 1507 – 7 July 1573) was one of the great Italian architects of 16th century Mannerism. His two great masterpieces are the Villa Farnese at Caprarola and the

Basilica of Santa Maria degli Angeli, Assisi (with Galeazzo Alessi);



Church of Sant'Andrea in Via Flaminia, Rome, the first church to have an oval dome, which became a signature of the Baroque.

Jesuits' Church of the Gesù in Rome. The three architects who spread

Giacomo della Porta

the Italian Renaissance style throughout Western Europe are

Giacomo della Porta (c. 1533 – 1602) was an Italian[1] architect and

Vignola, Serlio and Palladio. Biography

sculptor, who worked on many important buildings in Rome, including St. Peter's Basilica.[2] He was born at Porlezza, Lombardy and died in Rome.

Giacomo Barozzi was born at Vignola, near Modena (EmiliaRomagna).

[edit]Biography

He began his career as architect in Bologna, supporting himself by

Della Porta was influenced by and collaborated with Michelangelo,

painting and making perspective templates for inlay craftsmen. He

and Giacomo Barozzi da Vignola, his teacher of architecture. After

made a first trip to Rome in 1536 to make measured drawings

1563 he carried out Michelangelo's plans for the rebuilding of

of Roman temples, with a thought to publish an illustrated Vitruvius.

the Campidoglio or Capitoline Hill's open spaces where he completed

Then François I called him toFontainebleau, where he spent the years

the façade and steps of Palazzo Senatorio, and

1541 1543. Here he probably met his fellow Bolognese, the

the Cordonata capitolina or the ramped steps up to the Piazza del

architect Sebastiano Serlio and the painterPrimaticcio.

Campidoglio.

From 1564 Vignola carried on Michelangelo's work at St Peter's

After the death of Vignola in 1573, he continued the construction of Il

Basilica, and constructed the two subordinate domes according to

Gesù, the mother church of the Jesuit order, and in 1584 modified its

Michelangelo's plans.

façade after his own designs.

Giacomo Barozzi died in Rome in 1573. In 1973 his remains were

From 1573 he was in charge of the ongoing construction of St. Peter's

reburied in the Pantheon, Rome.

Basilica, and later, in collaboration with Domenico Fontana, completed

Works

Michelangelo's dome between 1588-1590.

Vignola's main works include:

Giacomo della Porta completed a number of Rome's fountains from the 16th century; these included the fountains in the Piazza del Popolo,



Villa Giulia for Pope Julius III, in Rome (1550-1553). Here Vignola

the Fountain of Neptune, Rome and La Fontana del Moro in the Piazza

was working with Ammanati, who designed the nymphaeum and

Navona.

other garden features under the general direction of Vasari, with guidance from the knowledgeable pope and Michelangelo. A

Carlo Maderno

medal of 1553 shows Vignola's main villa substantially as it was

Carlo Maderno (1556 – January 30, 1629) was a Swiss-

completed, save for a pair of cupolas.

Italian[1] architect, born in Ticino, who is remembered as one of the



Villa Farnese at Caprarola (1559–1573);



Villa Lante at Bagnaia (1566 onwards), including the gardens and

Peter's Basilica and Sant'Andrea della Valle were of key importance in

their water features and casini;

the evolution of the ItalianBaroque. He is often referred to as the

Chiesa del Gesù, Rome, the mother church of the Jesuit order,

brother of sculptor Stefano Maderno, but this is not universally agreed

which would become a source for Baroque church facades in the

upon.



fathers of Baroque architecture. His façades of Santa Susanna, St.

17th century; [edit]Biography

Born in Capolago, Ticino (an Italian-speaking canton of Switzerland),

outshining other sculptors of his generation, including his

Maderno began his career in the marble quarries of the far north,

rival, Alessandro Algardi. His talent extended beyond the confines of

before moving to Rome in 1588 with four of his brothers to assist his

his sculpture to consideration of the setting in which it would be

uncle Domenico Fontana. He worked initially as a marble cutter, and

situated; his ability to be able to synthesise sculpture, painting and

his background in sculptural workmanship would help mold his

architecture into a coherent conceptual and visual whole has been

architecture. His first solo project, in 1596, was an utterly confident and

termed by the art historian, Irving Lavin, the ‘unity of the visual

mature façade for the ancient church of Santa Susanna (1597–1603);

arts’.[1] A deeply religious man, working in Counter Reformation Rome,

it was among the first Baroque façades to break with

Bernini used light as an important metaphorical device in the

the Mannerist conventions that are exemplified in the Gesù. The

perception of his religious settings; often it was hidden light sources

structure is a dynamic rhythm of columns and pilasters, with a

that could intensify the focus of religious worship,[2] or enhance the

protruding central bay and condensed central decoration add

dramatic moment of a sculptural narrative.

complexity to the structure. There is an incipient playfulness with the rules of classic design, still maintaining rigor.

Bernini was also a leading figure in the emergence of Roman Baroque architecture along with his contemporaries, the architect, Francesco

The Santa Susanna façade won the attention of Pope Paul V, who in

Borromini and the painter and architect, Pietro da Cortona. Early in

1603 appointed him chief architect of St Peter's. Maderno was forced

their careers they had all worked at the same time at the Palazzo

to modify Michelangelo's plans for the Basilica and provide designs for

Barberini, initially under Carlo Maderno and on his death, under

an extended nave with a palatial façade. The façade (completed 1612)

Bernini. Later on, however, they were in competition for commissions

is constructed to allow for Papal blessings from the emphatically

and fierce rivalries developed, particularly between Bernini and

enriched balcony above the central door. This forward extension of the

Borromini.[3] Despite the arguably greater architectural inventiveness of

basilica (which grew from Michelangelo's Greek cross to the present

Borromini and Cortona, Bernini’s artistic pre-eminence, particularly

Latin cross) has been criticized because it blocks the view of the dome

during the reigns of popes Urban VIII (1623–44) and Alexander

when seen from the Piazza, often ignores the fact that the approaching

VII (1655–1665), meant he was able to secure the most important

avenue is modern. Maderno would not have had liberties to design this

commission in Rome of the day, St. Peter's Basilica. His design of

building as much as in other structures.

the Piazza San Pietro in front of the Basilica is one of his most

Maderno was called upon to design chapels within existing churches,

innovative and successful architectural designs.

the Chapel of St Lawrence in San Paolo fuori le Mura and the Cappella

Bernini and other artists fell from favour in later neoclassical criticism of

Caetani in Santa Pudenziana.

the Baroque. It is only from the late nineteenth century that art historical scholarship, in seeking an understanding of artistic output in the cultural context in which it was produced, has come to recognise

Gian Lorenzo Bernini Bernini’s achievements and restore his artistic reputation. Gian Lorenzo Bernini (also spelled Gianlorenzo or Giovanni Lorenzo) (Naples, 7 December 1598 – Rome, 28 November 1680)

Architecture

was an Italian artist who worked principally in Rome. He was the

Bernini's architectural works include sacred and secular buildings and

leading sculptor of his age and also a prominent architect. In addition

sometimes their urban settings and interiors.[9] He made adjustments to

he painted, wrote plays, and designed metalwork and stage sets.

existing buildings and designed new constructions. Amongst his most well known works is the Piazza San Pietro (1656–67), the piazza and

A student of Classical sculpture, Bernini possessed the unique ability colonnades in front of St Peter's and the interior decoration of the to capture, in marble, the essence of a narrative moment with a Basilica. Amongst his secular works are a number of Roman palaces: dramatic naturalistic realism which was almost shocking. This ensured following the death of Carlo Maderno, he took over the supervision of that he effectively became the successor of Michelangelo, far

the building works at the Palazzo Barberini from 1630 on which he

traditions of Florence, followed by his last hectic and triumphant 12

worked with Borromini; the Palazzo Ludovisi (now Palazzo

years in Rome, working for two Popes and their close associates.[5]

Montecitorio)(started 1650); and the Palazzo Chigi (now Palazzo Chigi-

Architecture

Odescalchi) (started 1664). After Bramante's death in 1514, he was named architect of the new St In 1639, Bernini bought property on the corner of the via Mercede and the via del Collegio di Propaganda Fide in Rome. On this site he built himself a palace, the Palazzo Bernini, at what are now Nos 11 and 12 via della Mercede. He lived at No. 11 but this was extensively changed in the nineteenth century. It has been noted how very galling it must have been for Bernini to witness through the windows of his dwelling, the construction of the tower and dome of Sant'Andrea delle Fratte by his rival, Borromini, and also the demolition of the chapel that he,

Peter's. Most of his work there was altered or demolished after his death and the acceptance of Michelangelo's design, but a few drawings have survived. It appears his designs would have made the church a good deal gloomier than the final design, with massive piers all the way down the nave, "like an alley" according to a critical posthumous analysis by Antonio da Sangallo the Younger. It would perhaps have resembled the temple in the background of The Expulsion of Heliodorus from the Temple.[50]

Bernini, had designed at the Collegio di Propaganda Fide to see it replaced by Borromini's chapel.[13]

He designed several other buildings, and for a short time was the most important architect in Rome, working for a small circle around the

Raphael Papacy. Julius had made changes to the street plan of Rome, creating [2]

Raffaello Sanzio da Urbino (April 6 or March 28, 1483 – April 6, 1520[3]), better known simply as Raphael, was

several new thoroughfares, and he wanted them filled with splendid palaces.[51]

an Italian painter and architect of theHigh Renaissance, celebrated for The Villa Madama, a lavish hillside retreat for Cardinal Giulio de' the perfection and grace of his paintings and drawings. Together Medici, later Pope Clement VII, was never finished, and his full plans with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.[4]

have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by Antonio da

Raphael was enormously productive, running an unusually large workshop, and despite his death at 37, a large body of his work remains. Many of his works are found in the Apostolic Palace of The Vatican, where the frescoed Raphael Rooms were the central, and the

Sangallo the Younger. Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which Palladio made a measured drawing.[54]

largest, work of his career. The best known work is The School of In 1515 he was given powers as "Prefect" over all antiquities Athens in the Vatican Stanza della Segnatura. After his early ...