Renaissance
Content
CHARACTERISTICS
Symmetry and Proportion
Geometry and the regularity of pa
From ancient roman structures
Inner dome of pantheo
Influenced domes of renaissanc
THE PANTHEON
PLAN
• Geometric
• Square and
Symmetrical
• Proportions are
usually based on a
module
• Within a church the
module is often the
width of an aisle
• St Pierrie
FAÇADE
• Symmetric about
Vertical axis
• generally surmounted
by a pediment
• organized by a system
of pilasters, arches and
entablatures
• Sant'Agostino,
Rome
COLUMNS AND PILASTERS
• Roman orders of
columns• Tuscan, Doric,
Ionic,
• Corinthian and
Composite
• pilasters as an
integrated system
Old Sacristy , Italy
SYMMETRY AND PROPORTION
THE VITRUVIAN MAN
By Vinci
DOME
• The dome is used
• as a very large structural
feature that is visible from
the exterior
• as a means of roofing smaller
spaces where they are only
visible internally
• after the success of the
dome in Brunelleschi’s
design for the Basilica di
Santa Maria del Fioreand its
use in Bramante’s plan for
St. Peter's Basilica
• the dome became an
indispensable element in
church architecture
ARCHES AND VAULTS
• Arches are semicircular or
segmental
• Supported on piers or
columns with capitals
• Vaults do not have
ribs
• On a square plan
• St Andrea in Mantua
Ceilings
• Roofs fitted with
flat or coffered
Ceilings
• Generally painted
or decorated.
• Ceiling painting in
Sistine chapel ,
Vatican City
NICHE
• Sculptured figures
set in niches or
placed on plinths.
• Not integral to the
building as in
Medevial Structures
• SCULPTURE IN
NICHE UFFIZI,
FLORENCE
Doors and Windows
• Doors usually have square
lintels
• They may be set within an
arch or surmounted by a
triangular or segmental
pediment
• Windows may be paired and
set within a semi-circular
arch.
• They may have square
lintels and triangular or
segmental pediments
• Palazzo Farnese in Rome
Walls
• External walls of
highly
finished ashlar mason
ry, laid in straight
courses.
• The corners often
emphasised by
rusticated quoins
• Palazzo Medici
Riccardi in Florence
Symmetry and Proportion
Geometry and the regularity of pa
From ancient roman structures
Inner dome of pantheo
Influenced domes of renaissanc
THE PANTHEON
PLAN
• Geometric
• Square and
Symmetrical
• Proportions are
usually based on a
module
• Within a church the
module is often the
width of an aisle
• St Pierrie
FAÇADE
• Symmetric about
Vertical axis
• generally surmounted
by a pediment
• organized by a system
of pilasters, arches and
entablatures
• Sant'Agostino,
Rome
COLUMNS AND PILASTERS
• Roman orders of
columns• Tuscan, Doric,
Ionic,
• Corinthian and
Composite
• pilasters as an
integrated system
Old Sacristy , Italy
SYMMETRY AND PROPORTION
THE VITRUVIAN MAN
By Vinci
DOME
• The dome is used
• as a very large structural
feature that is visible from
the exterior
• as a means of roofing smaller
spaces where they are only
visible internally
• after the success of the
dome in Brunelleschi’s
design for the Basilica di
Santa Maria del Fioreand its
use in Bramante’s plan for
St. Peter's Basilica
• the dome became an
indispensable element in
church architecture
ARCHES AND VAULTS
• Arches are semicircular or
segmental
• Supported on piers or
columns with capitals
• Vaults do not have
ribs
• On a square plan
• St Andrea in Mantua
Ceilings
• Roofs fitted with
flat or coffered
Ceilings
• Generally painted
or decorated.
• Ceiling painting in
Sistine chapel ,
Vatican City
NICHE
• Sculptured figures
set in niches or
placed on plinths.
• Not integral to the
building as in
Medevial Structures
• SCULPTURE IN
NICHE UFFIZI,
FLORENCE
Doors and Windows
• Doors usually have square
lintels
• They may be set within an
arch or surmounted by a
triangular or segmental
pediment
• Windows may be paired and
set within a semi-circular
arch.
• They may have square
lintels and triangular or
segmental pediments
• Palazzo Farnese in Rome
Walls
• External walls of
highly
finished ashlar mason
ry, laid in straight
courses.
• The corners often
emphasised by
rusticated quoins
• Palazzo Medici
Riccardi in Florence
