Lorenzo And Santa Maria Novella Comparison

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

the man responsible, built not one but two domes, “one nested inside the other.” During his

In this excerpt, von Simson looks at how the writings of intellectuals influenced the development of Gothic architecture. He begins by looking at the writings of St. Augustine and his love for music and how the importance of measurement found in music also applies to architecture. He then goes on to address two important schools of thought that influenced the formation of the Gothic style: The Platonists with their focus on cosmology, and the monks at Clairvaux, including St. Bernard, who focused on spirituality. In this section, von Simson focuses on the former and the connection between the cosmos and the Gothic cathedral. He argues that these medieval scholars saw God as an architect and the cosmos as his cathedral. In his study of both St. Augustine and the Plantonists, von Simson works to identify the ways in which these intellectual schools of thought influenced Gothic architecture.

Many decades’ architects have failed to seal the enormous hole in the roof of the great Cattedrale di Santa Maria del Fiore. In 1418, the city Fathers announced a contest for the idea dome design; a promise of gold and eternal fame was granted for anyone who is able to construct it. A goldsmith, Filippo Brunelleschi won the contest by proposing his design of “double dome” to the Fathers.

The structure, approved and paid for by the city council, was a feat of amazing architecture on the part of Fillippo Brunelleschi. This was the largest dome created in that time and it was Brunelleschi’s ingenious design that won the commission against Ghiberti and other artists. The Church’s possession of grand cathedrals like this one served to demonstrate to the people the greatness of the faith and the power of God. There was a religious aspect to the construction of the immense cathedrals and basilicas; the people were paying homage to their god and constructing churches they felt were worthy for him. However, it was also somewhat political, as the grandeur of the churches was displayed to all the people in the city. No one could question the Catholic church’s might and colossal influence after viewing a cathedral such as the

Filippo Brunelleschi was a genius at not only architecture, but at sculpture, woodcarving, drawing, and clock making. When the priests in Florence, Italy in 1418 were deciding on what they were going to do with the big hole they had in the roof of their cathedral, Brunelleschi volunteered to be the architect (King, 2013). His motivation was to help the church, however, he also knew that this would allow him to have never ending fame and a big salary once the job was complete. Even though he would not reveal his plan on how he would accomplish this extraordinary task, they accepted his as the supervisor of this great project.

The photograph enveloped me into a brief essence of sanctity in behalf of the articles surrounding the church. The placement of everything in the picture seemed so perfect that I believed it had to have been artificial. The clouds draw the eye toward the tip of the spire where a cross sits, the building is standing on the highest elevation of earth—as if to reach the heavens, and all the more, the two largest

Uncoincidentally, the name Renaissance means “rebirth” in French which really summarizes the era’s revival of philosophy, art, learning, trade, and much more across Europe (Fitzpatrick). Within this seemingly positive list of Renaissance effects, several of these became factors that discredited the Catholic Church and preceded the Protestant Reformation. New humanist and secular philosophical ideas that gained precedence in the Renaissance gave people during the time a new appreciation and sense of stability outside of the Catholic Church (Fitzpatrick). The rebirth of scholarly learning brought about many strides in the scientific fields that disputes the Catholic Church and begins the downfall of their era of

In this essay I intend to compare and contrast the Basilica of St. Sernin and Basilica of St Denis in France with references to how they differ structurally (as Romanesque and Gothic buildings respectively) followed by critical analysis of the advancements in architectural construction methods. The progression in architectural capability from Romanesque to Gothic led to a change in how religious architecture was approached spatially, with far greater emphasis on the use of light and a desire for greater height. To assess this transition one must contextualise the periods the respective basilicas were built in and the physical limitations as well as architectural preferences of the time. One must further assess why previously unfeasible technologies that now elevated the height of buildings and placed a greater emphasis for infiltration of light were required for religious reasons. This need for greater height and light exemplifies the relationship that people wanted between themselves and God in order to achieve a more fulfilled experience of their religion. This essay will attempt to consider and evaluate the dramatic change in the architectural style of Churches and Cathedrals and the transition from Romanesque to Gothic indicating the lasting impact these processes have left on history.

One of the world’s most famous architects and engineers was born in the Italian city state of Florence sometime in 1377. Although he had a huge influence on building design and construction, and on art, we don’t know a lot about Filippo Brunelleschi’s early life. Nonetheless, he left buildings and artwork that still exist today, and he had two biographers who provided information about his work, from these we can learn a lot about this Renaissance genius. His most important work, the ll Duomo di Firenze (the Dome of the Florence Cathedral), was finished in 1436 and remains as one of the greatest symbols of the period. Before he started building this revolutionary structure, Brunelleschi studied the architecture of Roman buildings and monuments.

A contest was designed to encourage the greatest architects to create plans for what the cathedral’s ceiling would look like. Ultimately, an artist named Filippo Brunelleschi won, and was responsible for the building of the Duomo in Florence. Upon first glance, the building of the Duomo may not strike people as a monumental or important event in history. However, it is important to remember the Duomo was constructed in Florence, where flying buttresses -an architectural design that carried the weight of roofs on large buildings to the ground- were illegal. Construction of the Duomo took place from 1420 to 1436, and required Brunelleschi to engineer a support system for the roof, previously thought impossible. Traveling back to the Italian Renaissance would allow me to witness architectural history. I would be able to observe Brunelleschi’s imagination come to life, question his methods of thinking, and watch the development of the Duomo create new opportunities for architects in the

Brunelleschi spent his early years studying art and linear relationships. He also spent 15 years studying the secrets of Roman architecture. Investigations reveal he incorporated this knowledge into the construction of the dome with the use of inverted arches for the walls, and the “spina pesce” (herringbone) pattern of brickwork used in the dome, which directed the weight of the bricks

Peter’s Basilica are architecturally different, yet they both unite those people who put their faith in the Catholic Church and into the hands of God by using these structures as propaganda. St. Peter’s Basilica is an excellent representation of Baroque and Renaissance style art and architecture due to the time period that construction began for this magnificent building. Gaudi’s La Sagrada Familia is unique even for other basilicas and cathedrals built in the Gothic style. He brings together new ways of architecture and construction that make La Sagrada Familia such an interesting and outstanding structure years before its completion. However, despite the differences in appearance between St. Peter’s Basilica and La Sagrada Familia, they both share similarities that tell the story of Catholicism and bring visitors from different backgrounds and religions to one meeting

In this essay, I will not only be discussing at the connections between Renaissance architecture and cosmology as well as music, but also the what Renaissance architecture is and how it played a key part in architectural design today. The Renaissance period took place during the early 15th century to early 17th century, the age of Leonardo, Michelangelo, and Raphael. Architects of the time took inspiration from classical Roman architecture. This means it is an analysis of architecture in the ancient world, especially ancient Greece and Rome. What the Renaissance learnt from the Romans has how they used the space, looked at the form and had somewhat accurate measurements. And so, they copied elements and modified it, for example, many columns having a slightly intruded appearance on walls to give decoration to the building. They loved looking at the design and proportions and the mainly thrived in Italy during the early semester. It wasn’t until the latter years where Renaissance architecture started to spread throughout Europe, where many architects were fading from the gothic style previously used. However, large numbers of buildings incorporated a mixture of Renaissance and Gothic styles. A famous building built during the Renaissance period is St Peter’s Basilica, made in Rome, which was designed by many

The Laurentian Library was commissioned and constructed by Michelangelo beginning in the early 1520’s in Florence, Italy. The library was a turning point for architecture in how buildings were artistically conceptualized. The library was built to house the 4,500 printed books and the the 11,000 family manuscripts of the Medici family. It was made for the Pope at the time, Pope Clement VII, who was a Medici. The library was meant to display the Medici family’s intelligence and to celebrate knowledge. The library was built on top of an existing convent at the Church of San Lorenzo. It was made up of two connecting parts, the vestibule with a staircase and a long reading room. The design of the library, especially the vestibule, is one of his most exceptional architectural achievements. Michelangelo had a vision to build a skylight in the vestibule, but this idea was shut down, and clerestory windows where built into the west wall instead. The windows are framed with pietra serena. Columns rest inside the walls, which appear to be supported on consoles. The texture between these columns is like a taut skin stretched out between them. The dramatic vestibule is a square area that is 48 feet high with a stone staircase that takes up most of the room. It is shocking that the vestibule is almost half as tall as it is wide. The stairs were constructed in such a complex way, and rarely has architecture ever portrayed such style that brings dynamic movement and drama. It is said the