Unit IV

Renaissance and mannerist

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UNIT IV RENAISSANCE AND MANNERIST
• Idea of rebirth and revival
• Humanism
• Development of thought
• the Renaissance patron
• Urbanism Renaissance architecture:
• Brunelleschi and rationally ordered space
• ideal form and the centrally planned church: Alberti and Donato Bramante
• Merchant Prince palaces: Palazzo Ricardi
• Villas of Palladop : Villa Capra Vicenza
• Mannerist architecture : The Renaissance in transition
• Michaelangelo : Library at S. Lorenzo, Florence, Capitoline Hill
• Inigo Jones.
 • RENAISSANCE MEANS: The revival of European art and literature under
the influence of classical models in the 14th–16th centuries.
•The term renaissance, literally means "rebirth" and is the period in
European civilization immediately following the middle ages
•The renaissance also witnessed :
• the discovery and exploration of new continents,
• the substitution of the copernican for the ptolemaic system of
astronomy,
• the decline of the feudal system
• the growth of commerce,
• the invention or application of such potentially powerful innovations
as paper,
• printing, Beginning And Progress Of The
• the mariner's compass, Renaissance Fourteenth To Sixteenth
Century
• and gunpowder.
•According to the scholars, it was primarily a time of the revival of
classical learning and wisdom after a long period of cultural decline and
stagnation.
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 • RENAISSANCE MEANS: The revival of European art and literature under
the influence of classical models in the 14th–16th centuries.
Recovery by Italian scholars of Greek and Roman classical literature

The word RENAISSANCE means rebirth. Or the revival of the study of the Greek
and the Roman classics.
It is the period when most of the western Europe turned again to the culture
of the ancient Greek and Romans,
Renaissance signifies the rebirth of freedom-loving, adventurous thought of
man which, during the middle ages, has been faltered and imprisoned by
religious authorities.
•The attainment of self-conscious freedom by the human spirit manifested in The
european races
•It was not their discovery which caused the Renaissance.
•But it was the intellectual energy, the spontaneous outburst of Intelligence, which
enabled mankind at that moment to make use of them.
• The Force then generated still continues, vital and expansive, in the spirit of
•The modern world.

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 1.NEW SECULAR HUNGER FOR DISCOVERING TEXTS:
the courts and monasteries of Europe had long been repositories of old manuscripts and texts, but
a change in how scholars viewed them stimulated the massive reaooraisal if classical works in th
eRenaissance.
2.REINTRODUCTION OF CLASSIC AL WORKS:
while there are classical works in western Europe at the start of the renaissance, many had been
lost and existed only in the east, in both Christian Constantiniple and muslim states. During the
renaissance many key texts were reintroduced into Europe, whether by merchants taking
advantage of the new hunger for old texts.
3.THE PRINTING PRESS
a hunger for forgotten texts developed in Europe, but it was the new printing press that allowed
these works to be mass produced, feeding a much wider audience than the old hand written
methods could ever have hoped to reach.
4.DECLINE OF FEUDALISM:
the renaissance was able to flourish because the feudalism was declining.
The cause of the decline if the feudalism was the rise of middle class and their support to the kings.
5.OCCUPATION OF CONSTANTINOPLE BY TURKS:
in 1453, the turkish empire occupied Constantinople, the capital of byzantine Empire (East Roman
Empire of ancient times). Secondly, th eConstantinople was great center of knowledge, philosophy
and art. The turkis loved to fight but they had no love and utility for anything that could enhance
their knowledge.
6.SCIENTIFIC INVENTIONS:
THE scientific inventions became the rise of renaissance and decline of superstition which had clouded
the brain of medieval Europe. New geographical discoveries were made, the world was shown as
round body and sun proved as the centre of the universe.
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 •Renaissance humanism was a response to the utilitarian approach and what
came to be depicted as the "narrow pedantry" associated with medieval
scholasticism.
•Humanism is the term generally applied to the predominant social philosophy
and intellectual and literary currents of the period from 1400 to 1650.
•The return to favor of the pagan classics stimulated the philosophy of secularism,
the appreciation of worldly pleasures, and above all intensified the assertion of
personal independence and individual expression.

•Expansion of trade, growth of prosperity and luxury, and widening social

contacts generated interest in worldly pleasures, in spite of formal allegiance to
ascetic Christian doctrine.
•the humanists -- welcomed classical writers who revealed similar social values
and secular attitudes.
•Humanistic contributions to science consisted mainly in the recovery of Greek
scientific literature which evinced a more accurate and acceptable body of facts
and ideas than most medieval scientific works.

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 The most fundamental point of agreement is that the humanist mentality stood
at a point midway between medieval supernaturalism and the modern scientific and
critical attitude. Medievalists see humanism as the terminal product of the Middle
Ages.
The man of the renaissance lived, as it were, between two worlds.
The world of the medieval christian matrix, in which the significance of every
phenomenon was ultimately determined through uniform points of view, no longer
existed for him.
On the other hand, he had not yet found in a system of scientific concepts and social
principles stability and security for his life.
Renaissance man may indeed have found himself suspended between faith and
reason.
Humanistic contributions to science consisted mainly in the recovery of Greek
scientific literature which evinced a more accurate and acceptable body of facts and
ideas than most medieval scientific works.

humanism began as a rather pious, timid, and conservative drift away from
medieval Christianity and ended in bold independence of medieval tradition.
Humanism embodied the mystical and aesthetic temper of a pre-scientific age.

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  Derived from the Latin word humanitas which means “culture”.

 This movement started in the early part of the 14th even up to the 16th
century.

 This period was marked by a revival of the classical influences of the

Romans and Greeks, expressed in the flowering of the arts and
literature as well as the beginning of modern science.
Humanistic Education was the outgrowth of the renaissance.
It identified two phases:
1. Italian Humanism or individual humanism

2. Humanism North of the Alps or the Social humanism

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 Italian or individual
humanism
This stressed
personal culture,
individual freedom
the development
of the elite group.

Aims of Italian Humanism

1. Academic Freedom
2. Abundant Living
3. Liberal Education
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 • Scholars known as humanists returned to the works of ancient writers.
• Previously, during the Middle Ages, scholars had been guided by the
teachings of the church, and people had concerned themselves with
actions leading to heavenly rewards. The writings of ancient, pagan
Greece and Rome, called the "classics" had been greatly ignored.
• To study the classics, humanists learned to read Greek and ancient
Latin, and they sought out manuscripts that had lain undisturbed for
nearly 2,000 years.
• The humanists rediscovered writings on scientific matters,
government, philosophy, and art. They were influenced by the
knowledge of these ancient civilizations and by the emphasis placed
on man, his intellect, and his life on Earth.

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 Types of Education
1. Literary and Aesthetic Education
2. Physical Education
3. Moral and Religious Training
4. Intellectual Training
Agencies of Humanistic Education
1. Lower or elementary schools
2. Secondary or Court schools
3. Universities
Organization of Grade Levels
4. Girls were taught by tutors at home
5. The boys had to go through school step by step: elementary, high school and
university.

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Methods of Instruction
1. Lecture
2. Writing Themes
3. Development of Self-expression
4. Development of interest and power of thinking
5. Balanced mental and physical activity.
6. Curriculum was varied and there was alteration of
subjects.
7. Discipline was mild and motivation was emphasized.
8. Punishment – not used as motivation for learning

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 Financing
• Rich children paid fees but poor children
did not.
• Bright but poor children received aid.
• The court (secondary) schools were
founded and supported by the princes
and dukes of the Italian city-states.

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 Italian Humanism contributed the
following to education:

1. Secondary schools served as models in other

countries.
2. Academic freedom was founded: freedom of
thought, self-expression, and creative
activity.
3. Revival of Roman and Greek classics.
4. Used of texts and less of lectures and written
themes instead of oral recitation.

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 Humanism North of the Alps
This Social Humanism started by the work of
the Hieronymians or Brothers of the Common
Life, a nonmonastic order founded in Holland
1376.
Characteristics of the Northern Humanism
1. The piety of the brethren – Kempis
2. Their broad literary spirit - Erasmus

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 Aims of Northern Humanism
1. Social – to reform society from greed, selfishness and exploitation by
Church and political leaders.
2. Religious and moral – morality ahead of manners.
3. Literacy – to wipe out the ignorance of the people.
4. Literary
5. Democratic – to make education accessible to all classes of society.

Types of Education
1. Social education
2. Religious and moral education
3. Literacy education
4. Literary education
5. Democratic education

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 Methods of Instruction
1. Individualized instruction
2. Ciceronianism – (imitation of a style)
3. Double translation – Roger Ascham
◦ Praise was used instead of punishment
4. Educational Psychology
5. Imitation and Memorization
6. A class-a-year practice.
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 • Renaissance is a time period when church architecture starts to come
before that of the public (residential) buildings.
• The early renaissance is said to have started in Florence but it spread
and developed in Rome.
• The principle attributes of the Renaissance were extravagant palaces
and churches.
• Art and culture play a major role and the architects rely on the old ages,
especially ancient Greece, for inspiration and improvement of
aesthetics and better representation of messages from our past
through architecture.
• This reliance on old-ancient ideals created a new movement in the
development of civilizations, time and urban ambient. This new
movement (quality) is known as humanism.

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 Art of the Renaissance was
1. painted for wealthy patrons
2. Often not about religious themes
3. treated as a collector’s item or as art for art’s sake
4. light hearted
5. painted with bright colors and softer lines
6. painted with landscapes in the background
7. painted with new techniques
8. In large part oil paintings More realistic, but also
idealized
9. Typically fairly three dimensional

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 The Humanist Philosophy
The new interest in secular life led to beliefs about education and society that came
from Greece and Rome.

The secular, humanist idea held that the church should not rule civic matters, but
should guide only spiritual matters.

The church disdained the accumulation of wealth and worldly goods, supported a
strong but limited education, and believed that moral and ethical behaviour was
dictated by scripture.

Humanists, however, believed that wealth enabled them to do fine, noble deeds,
that good citizens needed a good, well-rounded education (such as that advocated
by the Greeks and Romans), and that moral and ethical issues were related more to
secular society than to spiritual concerns.

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 Rebirth of Classical Studies
The rebirth of classical studies contributed to
the development of all forms of art during the
Renaissance.
Literature was probably the first to show signs
of classical influence.
The Italian poet Petrarch (1304-1374)
delighted in studying the works of Cicero and
Virgil, two great writers of the Roman age, and
he modelled some of his own writings on their
works.
Although he often wrote in Latin, attempting
to imitate Cicero's style, Petrarch is most
renowned for his poetry in Italian. As one of
the first humanists, and as a writer held in high
esteem in his own time, he influenced the
spread of humanism--first among his admirers,
and later throughout the European world.

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 Medieval philosophy had culminated in the cumulative achievements
of scholasticism, a grand system of thought developed by generations of patient scholars
employing NEOPLATONIC and ARISTOTELEAN philosophy in the service of traditional
Christian theology.

Religious reformers challenged ecclesiastical authority and made individual believers

responsible for their own relation to god,
Renaissance thinkers proposed an analogous elimination of all appeals to authority in
education and science.

Educational practice was revolutionized by the recovery of ancient documents, the

rejection of institutional authority, and renewed emphasis on individual freedom.

The humanists expressed an enormous confidence in the power of reason as a

source of profound understanding of human nature and of our place in the natural order. 

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 Giovanni Pico della Mirandola's Oration, for example, held forth the possibilities for a
comprehensive new order of knowledge relying on human understanding without reference to
divine revelation.

classical texts in their own right, without relying on centuries of scholastic commentary.

Giordano Bruno and Francisco Suárez, humanism offered an opportunity to incorporate modern

developments along with classical elements in entirely new systems of metaphysical knowledge.

The rise of the new science also offered a significant change in the prospects for human
knowledge of the natural world. 

Copernicus argued on theoretical grounds for a heliocentric view of the universe,

Kepler provided a more secure mathematical interpretation.

Galileo contributed not only an impressive series of direct observations of both celestial and
terrestrial motion but also a serious effort to explain and defend the new methods.
by emphasizing the importance of observation, and by trying to develop quantified accounts of all,
renaissance scientists began to develop the foundations of a thoroughly empirical view of the
world.

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 Who are renaissance patrons?
•  someone who gives money to artists so they
can continue their work. patrons are like
modern day philanthropists. 

patrons are also people who pay artists to

commission a piece of work, such as painting
the sistine chapel or making a statue of david.

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 •During the Renaissance, being a "patron" meant much more than being
•a wealthy person who sponsored an artist for their work.
•It signified a way of life, a ranking, a prestige that members of the upper classes strived
for and the lower class aspired to. Patronage was a "key to social status"
•Many patrons, being popes, kings, queens, princes, princesses, and nobles, were able to
show there wealth and power with who they were able to commission work.
•If a noble was able to commission work from an artist like Leonardo da Vinci, and
another noble did not have the finances to hire him, then people would look at the two
differently.
•They could pass judgment on the power of the noble with less money, thinking that a
man who could commission Da Vinci, would better hold a position of power.
• Power of the state was not the only thing patrons worked towards.
•The church also used patronage as a way to promote their religion and spread beliefs
though a society.
•Churches commissioned artists to decorate their churches, cathedrals, chapels, and
temples with sculptures of holy figures, and paintings of religious scenes.

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 Patronage
There were three ways of being a patron during the Renaissance.

First, one could take the artist into their household and, in return, the artist would
produce the work that they wanted.

Second, one could hire an artist to work for him or her. For example, a king would
hire a court painter who agreed to do any art that that king wanted and would be
paid on a payroll.

THIRD, they could commission an artist for only one piece of art, paying exclusively
for that single job, regardless of how long it took to complete. Whatever way a
patron was commissioning an artist, there was always a formal contract written and
signed, concerning the money and job for the artist.

Artist of a lower status usually held this contract without breaking it, knowing that
this was probably the only way to make a name for themself.
However, as an artist rose in respect and reputation, they would be more likely to
break a contract for more money, a better opportunity, or more acceptable terms.
This power struggle lead to conflict between many artist and their patrons.
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 artists
did not stay with single patrons for extended amounts of time, while
others, would work for the patron from five to forty years. Three of the
most famous artist, Leonardo, Michelangelo, and Raphel,
or Leonardo, he had only one patron who lasted longer
than five years. This patronage, which lasted for seventeen
years, was for Ludovico Sforza, the Duke of Milan as court
artist. Because Leonardo was talented in many areas, his
patronage was not limited to arts, but also included being
the military and civil engineer.

Another patronage of Leonardo that lead to one of his more famous

paintings was with Isabella D'este of Mantua. Isabella
was a very famous patron of the Renaissance. Coming from
a family of patrons she started commisioning work at age 17.
Not only was she a well respected parton and women in
Mantua, but she became Ruler of Mantua for a period
of time in her husbands absence. Leonardo worked for
Isabella for about a year, in which time he produced his
black chalk Sanguine cartoon of Isabella
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 Michelangelo had two patrons that were his primiary patrons:
 Pope Julius II, and the Medici family.

Julius was a powerful ruler, more concerned with his

personal fame than he was with the advancement of the
Church.
He is known for being very ambitios. His goal
during papacy was to "build a new Christian Rome on the
same scale as the monumental ancient city“.
He wanted to be known for bringing Rome back to its original
Golden Age, an acomplishment that would forever hold fame
in the future. He used Michelangelo for this. As his cheif artist,
Julius commisioned many projects for Michelangelo, starting
with a tomb for himself in 1505.
This tomb included three
layers, and forty statues. He never finished this project, but
worked on it for the next 40 years. His next largest, ambitious
project was the painting of the ceiling of the Sistine Chapel
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 Michelangelo's other patron was actually
a family, the Medici Family. When he was not working for
Pope Julius II, Michelangelo worked for many members of the
Medici family in Florence. The Medici's were a very powerful
and influential family, who, through banking (the Medici bank),
was said to be the wealthiest family in Europe (Wikipedia). With
this wealth, Cosimo de Medici was able to become the first
"unnofficial" head of state of the Florentine government in
1434 AD, later members becoming official

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 Raphael had a patronage much like Michelangelo's. He
worked on many commissions from Juilius II and Leo X,
some being the decorating the Vatican Stanze (papal
apartments), the extension to St.Peter's Basilica, and
painting ten tapestries to be hung in the Sistine Chapel.
Raphael worked perfectly with both popes, for he, like
them, had the ambition to endow the city with magnificent
building and works of art.
Raphael is also the perfect
example of an how a patron made an artist as famous as
he or she could be. 

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 RENAISSANCE AND BAROQUE
Renaissance towns adopted a more mild look in shape and harmony. Their streets
were straight and diagonal, following a straight line.
Streets become the focus of architectural research.
Leonardo preformed experiments on the streets and developed a very primitive form
of traffic regulations.
Urbanism during the Renaissance was indeed in full bloom. Spontaneous
construction was not practiced; everything was done with extensive plans and the job
preformed by great craftsmen with multiple talents.
Renaissance period was the greatest age for the urban daydreamers, who went on to
create some of the greatest projects in today’s fantastic towns.
Their wondrous works continue to inspire both urbanites and construction workers
alike.
The last stage of the Renaissance is Baroque, which literally translates into crooked
(abnormal).
In Urbanism it represents moving away from the strict orthogonal scheme and
introduction of wavy lines, 'dome' in town's panoramic views and bringing attention
to rich extravagant decorations. The most distinguished specialist and pioneer of the
Baroque architecture and urbanism is definitively Boromini as he left deep traces and
many followers around Europe. 
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 While security considerations have always been a part of the urban design process — and are
arguably becoming more so — few modern cities have been planned from scratch with military
motives at their core. When they have, their one-dimensionality has either prevented them from
leaving the drawing board as anything more than a darkly utopian conceit or blighted their
capacity to accommodate everyday life.

Renaissance engineers merged the concepts of “fortified city” and “ideal city,” tracing a common
language of geometry and perspective – lines of sight could serve as lines of fire, a fixed shape as
a defensible boundary.
One of the few built examples is Palmanova, in northeast Italy. Edward Muir wrote that the
elegant town “was supposed to be inhabited by self-sustaining merchants, craftsmen, and
farmers.” But it soon became evident that, “no one chose to move there, and by 1622 Venice
was forced to pardon criminals and offer them free building lots and materials if they would
agree to settle the town.”*

The shift is towards a security that does not reveal the threats it secures against — security
without (specific) cause for alarm — as these various measures innocuously achieve their
objectives without drawing attention to themselves.
As these interventions become further embedded in the everyday urban fabric — for better or
worse, through force or familiarity — the planned military city has returned as an ideal, this time
driven not by the tenets of Renaissance humanism but by the changing conditions of warfare,
namely the strategic challenges and opportunities of its increasingly urban setting.
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 It is a concentric city with the form of a star, with three nine-sided ring roads
intersecting in the main military radiating streets. It was built at the end of the 16th
century by the Venetian Republic which was, at the time, a major center of trade. It
is actually considered to be a fort, or citadel, because the military architect Giulio
Savorgnanodesigned it to be a Venetian military station on the eastern frontier as
protection from the Ottoman Empire.

This idea was started by Sir Thomas More, when he wrote the book Utopia.

They all followed a major theme: equality. Everyone had the same amount of
wealth, respect, and life experiences. The society had a calculated elimination of
variety and a monotonous environment. The city where they lived was always
geometric in shape, and was surrounded by a wall. These walls provided military
strength, but also protected the city by preserving and passing on man’s knowledge.
The knowledge, learning and science gave form to the daily life of the people living
inside the walls. The knowledge of each person was shared by the entire society,
and there was no way to let any information either in or out.

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 The shape also comes from cosmological ideas, reflecting the religion of the day. It is believed to be
the most perfect of all geometries, because the radii are equidistant at all points, and it is a mirror of
a harmonious cosmic order. In the Catholic religion, as well as the pagan religions Catholicism
supplanted, the circle is the basis of everything created. It represents perfection, as well as the cycle
of life and death. What this means is that the circular shape also works to imitate nature, thus
appearing to blend into the surrounding countryside instead of sticking out in the landscape the way
most cities do up until this very day. The designers' intent was more than mere camouflage, they
meant for the city to be in harmony with the divine.

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 Filippo Brunelleschi
• Filippo Brunelleschi (1377 1446) was one of the foremost
architects and engineers of the Italian Renaissance. He is
perhaps most famous for his discovery of perspective and for
engineering the dome of the Florence Cathedral, but his
accomplishments also include other architectural works,
sculpture, mathematics, engineering and even ship design. His
principal surviving works are to be found in Florence, Italy.

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 The Florence Cathedral dome (1436)
by Filippo Brunelleschi
• Brunelleschi drew upon his knowledge of
ancient Roman construction as well as
lingering Gothic traditions to produce an
innovative synthesis.

• Employed the Gothic pointed arch cross

section instead of a semi circular one
• To reduce dead load, he created a double
shell as was done in the Pantheon
• Employed 24 vertical ribs and 5
horizontal rings of sandstone, as
observed in the ruins of Roman
construction
• The cupola on top was a temple of
masonry acting as a weight on top of the
dome.
• Designed special machines for
construction.

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 The Foundling Hospital, 1421-1444
by Filippo Brunelleschi

The Foundling Hospital is often

considered as the first building of the
Renaissance.

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 The Foundling Hospital, 1421-1444
by Filippo Brunelleschi
• Featured a continuous
arcade
• At the hospital the arcading
is three dimensional,
creating a loggia with
domed vaults in each bay.
• Use of Corinthian columns
across its main facade and
around an internal
courtyard.
• The design was based in
Roman architecture.
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 Other Brunelleschi projects
• Pazzi Chapel, 1460
• The facade was inspired by the Roman triumphal
arch.

• San Lorenzo, Florence, (1430-33)

• This church is seen as one of the milestones of
Renaissance architecture, with pietra serena or
dark stone articulation.
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 Brunelleschi’s invention of linear
perspective set the seal to the
Renaissance conviction that the
observing eye perceives metrical order
and harmony throughout space. If one
is keyed up to the metrical discipline of
buildings like S. Lorenzo [Fig. 2] or S.
Spirito and tries to see as if through a
screen the lines retreating towards the
vanishing point and the quickening
rhythm of the transversals, it is
possible to evoke visual reactions
similar to those which Renaissance
people must have experienced. […] the
difference between architecture and
painting becomes one of artistic
medium rather than of kind.

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 the idea that Brunelleschi’s perspective and his architectural interiors share a
common ‘period eye’ is diluted by the simple fact that the proportional-
perspectival effect described by Wittkower is to varying degrees shared by
most columnar, arcaded basilicas.

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 Brunelleschi’s panels resembled
contemporary paintings done under the
influence of his demonstrations

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 Throughout history, geometry has been employed symbolically in religious architecture
to cause spiritual effect. Sacred Geometry, specifically the circle and the square, was
used prevalently in Italian High Renaissance architecture to designate a house of God.
Yet attempts by the architects of the era to build churches in pure sacred form were
thwarted by the functional requirements of the church.  What would have been the
spiritual effect of these places of worship, and was the church intentionally curtailing the
power a sacred geometrical space could wield?

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 Italian architect Donato Bramante (1444-1514), Papal Architect for Pope Julius II, is known
to have shared many ideas about geometry and construction with Leonardo DaVinci
while both were working in Milan at the end of the 15th century. Both men were highly
influenced by ancient Greece and Rome, specifically the writer Vitruvius, prescriber of
proportion, and the work of Leon Battista Alberti, a writer and architect who preceded
Bramante and Leonardo.

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 Leonardo’s drawing of the Vitruvian Man demonstrates the Greek sacred mathematical
influence while illustrating the Christian ideal of man created in the image of God. The
Vitruvian Man was the diagram, instructing builders of religious architecture that the
ideal sacred form was to be a circle or square. Thus through its architectural form, a
building became the house of God. This diagram however, has no real mention of the
experiential effect of a worshipper praying inside of that building.

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Bramante’s buildings in Milan show Vitruvian influence, especially in plan. The use of
sacred geometry is not pure; instead composites of circles and squares overlap to form
the church plans. The spatial conglomeration of the composite creates its own effect,
but it is surely not the same as it would be if it were pure sacred geometry.

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 The sacred diagram is exemplified in Bramante’s Tempietto, a commemorative martyrium
in the courtyard of The Church of San Pietro in Montorio in Rome, from approximately
1502. The Tempietto is perfectly circular in plan and the proportions of the dome in
elevation hold both the sacred square and circle. The Tempietto is the purest example of
sacred geometry of the High Renaissance, even though it is only a small commemorative
structure, not a church, diminishing the potential spiritual effect.

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 Bramante additionally designed a spiral connecting stair for the Pope on Vatican grounds
in 1512. The stair plan is arranged in the same sacred circle as the Tempietto, but the
elevation is pulled into a helix. Traveling that many stories alone via a tightly enclosed,
spirally ramp would seemingly promote meditative contemplation. Could the
circumambulatory journey cause a God connection for the user and how related to
Bramante’s use of the pure sacred circular form is that effect?

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 Bramante and Julius II began to design the
reconstruction of St. Peter’s Basilica in sacred
symmetry. The square plan considers how
processions had become an integral part of
Catholic worship at the time, the form of the
Basilica divides into quadrants separated by
four processional naves to form a Greek Cross
in plan. The central meeting point of the naves
forms a circle, where a dome would have
enclosed and elevated the space. This plan is as
egalitarian as it is sacred, yet the processional
requirement of the church, like in the Basilica
being replaced, demanded more focus on the
Pope-led ceremony. With the addition of an
axial nave to the design long after Bramante’s
death in the end of the 16th century, the
reconstruction of St. Peter’s Basilica exists today
as yet another composite.

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 Here the power of church’s influence, masked in the pragmatism of a ritual, conflicted
with the Basilica becoming a veritable expression of God, according to the Vitruvian
diagram. Had the Basilica been rebuilt with non-composite sacred geometry, the
architecture could have focused less on the Papal ceremony and more on the individual
God connection through the pure form. The final non-sacred arrangement of the Basilica
surfaces deep questions about whether or not there is holistic energy embodied within
pure geometry that would affect the individual spiritually. Yet this would mean an end to
the requirement of the Pope’s leadership in order to spiritually connect to God, perhaps
even questioning whether a Basilica, sacred in geometry or not, was even required for
prayer.

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 What is “Mannerism”?
• The term "Mannerism" derived from the Italian word 'maniera'
• Meaning style or stylishness, refers to a style of painting, sculpture and architecture
• Emerged in Rome and Florence between 1520 and 1600BC
• acts as a bridge between the idealized style of Renaissance art and the dramatic
theatricality of the Baroque
• All problems of representing reality in the High Renaissance had been solved and
art had reached a peak of perfection and harmony
• Replaced harmony with dissonance, reason with emotion, and reality with
imagination
• Looking for novelty, artists exaggerated the beauty represented by Michelangelo
and Raphael, and sought instability instead of equilibrium
• Renaissance: stable triangular compositions

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 Mannerism Paintings
• Two detectable strains of Mannerist painting
• Early Mannerism(c.1520-35) is known for its "anti-classical", or "anti-
Renaissance" style
•  High Mannerism (c.1535-1580), a more intricate, inward-looking and intellectual
style, designed to appeal to more sophisticated patrons
• Mannerist painting tends to be more artificial and less naturalistic than Renaissance
painting
• This exaggerated idiom is typically associated with attributes such as emotionalism,
elongated human figures, strained poses, unusual effects of scale, lighting or
perspective
• The influence of the renaissance style is clear in the mannerism painting with rich
colors and fine details
• The name mannerism comes directly from the first known art historian Giorgio Vasari
• Giorgio Vasari himself a mannerism artist and used the Italian term man era

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 Late Renaissance [Pre-Baroque]
Art was at an impasse after the perfection and harmony of the Renaissance.
Antithetical to the principles of the High Renaissance.

1. Mannerists typically painted figures using contorted or twisting poses and foreshortening, a
technique for achieving the illusion of forms projecting into space.

2. In many Mannerist paintings proportions appear stretched, so that figures have elongated
torsos, necks, or other features, and the illusion of space is unrealistic, with sharp jumps from
foreground to background rather than gradual transitions.

3. Mannerists felt free to experiment with traditional subjects from the Bible or mythology; they
might intensify the emotional drama or add literary or visual references so that even
knowledgeable viewers had to work hard to decipher the meaning.

4.
5. Mannerism is a style that displays the skill of the artist and demands knowledge of the viewer.

The term Mannerism derives from the Italian word maniera, meaning “style” or “way of
working.”
6. Mannerism improved as critics came to appreciate its expressiveness, grace, and
sophistication.

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 • Post Renaissance Pre-Baroque
• 16th century (1520-1590)
• In Florence & Rome.
• Evolved from Italian word ‘Maniera’ – ‘style’
or ‘way of working’.
• Artificial style in contrast to the naturalism of
the high renaissance.
• Distortion of elements such as proportion
and space.
• Expressive forms of arts rather than classical
forms.
• Details out the lives and works of key artists
of the Mannerist style.
• Recognition of artistic elements of Mannerist
painting, sculpture and architecture.
• Irrational spaces.

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 MANNERISM – basic features
• Elongated features.
• Figura Serpentinate.
• Less emphasis on balance, symmetry and rational composition (values of High
Renaissance).
• Unusual lighting effects.
• Expressive forms.
• Adopted from Roman Architecture style.

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 • Elongated features.
• Figura Serpentinate.
• Less emphasis on balance, symmetry
and rational composition (values of
High Renaissance).
• Unusual lighting effects.
• Expressive forms.
• Adopted from Roman Architecture
style.

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 • Elongated features.
• Figura Serpentinate.
• Less emphasis on balance, symmetry
and rational composition (values of
High Renaissance).
• Unusual lighting effects.
• Expressive forms.
• Adopted from Roman Architecture
style.

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 • Elongated features.
• Figura Serpentinate.
• Less emphasis on balance, symmetry
and rational composition (values of
High Renaissance).
• Unusual lighting effects.
• Expressive forms.
• Adopted from Roman Architecture
style.

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 • Elongated features.
• Figura Serpentinate.
• Less emphasis on balance, symmetry
and rational composition (values of
High Renaissance).
• Unusual lighting effects.
• Expressive forms.
• Adopted from Roman Architecture
style.

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 • Elongated features.
• Figura Serpentinate.
• Less emphasis on balance, symmetry
and rational composition (values of
High Renaissance).
• Unusual lighting effects.
• Expressive forms.
• Adopted from Roman Architecture
style.

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 MANNERISM – characteristics
• PERFECTION & REACTION – THE NEXT STEP AFTER EXTREME END.

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 • ABSTRACTION OF THE ORDERS – HIDING OR COVERING UP THE ORDERS OR COLUMNS.

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 • RUSTICATION – RELIEF IN EXTERIOR THROUGH
CHISELLED TEXTURE
• EXPOSED BRICK / STONE WORK.
• EARLIER THE EXTERIOR WAS COVERED WITH
EITHER STUCCO OR PLASTER

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 • ANTISTRUCTURALISM – NOT USING THE STRUCTURE FOR WHAT IT STANDS FOR.

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 • EXAGGERATION & DISMEMBERMENT – EXTENDING BEYOND LIMITS AND IN A SEPARATED WAY THUS EACH EXTENDED
ELEMENT HAS ITS OWN IDENTITY.

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 Girolamo Francesco Maria Mazzola 

Also known as Francesco Mazzola 

11 January 1503 – 24 August 1540
An Italian Mannerist painter active in Florence, Rome, Bologna
His work is characterized by elongation of form and includes Vision of
Saint Jerome (1527) and the Madonna with the Long Neck (1534)

Madonna
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 • A work of art done according to an acquired
style rather than depicting nature
• Figures writhe and twist in unnecessary
contrapposto
• Bodies are distorted
–generally elongated but sometimes grotesquely
muscular
• Colors are lurid
– heightening the impression of tension
– At end of the Renaissance
– male and female costume became darker and
more rigid
• It was the close of a period of internal peace
and the humanist joy of life and the start of
religious tensions between Catholics and
Protestants

Madonna with Long Neck, Parmigiano, 1534-40

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 Inigo Jones
July 15, 1573 - June 21, 1652

Inigo Jones is regarded as the first

significant British architect of the
modern period, and the first to
bring Italianate Renaissance
architecture to England. He left his
mark on London by single buildings,
such as the Banqueting House,
Whitehall and in area design for
Covent Garden square which Above: Queen's House, Greenwich, 1616 was built for James I’s
became a model for future wife, Anne of Denmark. It was finished in 1635 and was the first
developments in the West End. St. strictly classical building in England, employing ideas found in the
Paul’s, Covent Garden, London architecture of Palladio and ancient Rome. This is Inigo Jones's
(1631-35) earliest surviving work. 

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 Plan of Queen’s House by Inigo Jones

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 THE WHITEHALL PALACE

The Palace of Whitehall (or Palace of White Hall) was the main residence of the English monarchs
in London from 1530 until 1698 when all except Inigo Jones's 1622 Banqueting House was
destroyed by fire. Before the fire it had grown to be the largest palace in Europe, with over 1,500
rooms, overtaking the Vatican and Versailles. The palace gives its name, Whitehall, to the road on
which many of the current administrative buildings of the UK government are situated, and hence
metonymically to the central government itself.

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 Banqueting House, Whitehall,
London (1619-22) The
Banqueting House, Whitehall,
London, is the grandest and
best known survivor of the
architectural genre of
banqueting house, and the only
remaining component of the
Palace of Whitehall. The
building is important in the
history of English architecture
as the first building to be
completed in the neo-classical
style which was to transform
English architecture.

Begun in 1619, and designed by

Inigo Jones in a style influenced
In Tudor and Early Stuart English architecture a banqueting by Palladio, the Banqueting
house is a separate building reached through pleasure gardens
from the main residence, whose use is purely for entertaining. House was completed in 1622

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