Foundations of the Italian Renaissance: Art, Architecture, and Humanism

Renaissance Concepts and Classical Revival

• Renewed Interest in Antiquity: Manifested early in literature and poetry through figures like Dante, Petrarch, and Boccaccio.
• Classical Texts: Significant revival and rediscovery of ancient writings.
• Vitruvius's Treatise (1414): The rediscovery of De Architectura was profoundly influential for subsequent generations of architects.

The Rise of Architectural Patronage

The emergence of wealthy patrons promoted new forms of art and architecture. Key examples include:

• The Medici Family: Including Giovanni di Averardo, Cosimo de' Medici (il Vecchio), and Lorenzo de' Medici (il Magnifico).

Humanism and Anthropocentrism

• Humanism posits that the human being contains the perfect proportions of the universe, famously illustrated in Leonardo da Vinci's Vitruvian Man.
• The human body became the source and object of all scientific and artistic knowledge.
• Classical antiquity was assumed as the model for universal imitation.
• Anthropocentric View: The belief that humanity is the center of the universe.

Architectural Principles: Mathematics and Proportion

Renaissance architecture emphasized mathematical and proportional relations, shifting focus:

• Strong emphasis on the horizontal line.
• A deliberate move away from the vertical emphasis characteristic of the Medieval period.

The Elevated Status of the Architect

The status of architectural work was elevated, recognized as intellectual, artistic, and scientific endeavors. This marked a radical change from the Medieval world:

• Works became attached to individual authors, replacing the anonymous "Master Builder" with the recognized Architect.
• Architects and artists began to fully understand and apply mathematical laws.
• Giorgio Vasari: Recognized as the first art historian.

Key Figures by Century

• Quattrocento (1400s): Filippo Brunelleschi, Leon Battista Alberti.
• Cinquecento (1500s): Donato Bramante, Michelangelo, Andrea Palladio.

Filippo Brunelleschi (The First Renaissance Man)

• Often considered the first truly Renaissance Man.
• Baptistry Doors Competition (1401): Lost the commission for the Doors of the Baptistry of Saint Giovanni to Lorenzo Ghiberti.

The Dome of Santa Maria del Fiore (Florence Cathedral)

• Commissioned: 1418.
• Dimensions are comparable to the Pantheon Dome in Rome.
• Innovation: Constructed Senza Armadura (without traditional scaffolding touching the ground).
• Utilized a double-shell principle to protect the inner structure (showing Gothic influence).
• Geometry: Employed the Quinto Acuto (pointed fifth) geometry in section.
• Plan: Octagonal plan with smooth interior concavity and exterior decorative marble ribs.
• Lantern (1436): Continued the decorative pattern of the dome; Brunelleschi is credited with inventing the double volutes used here.

Other Key Brunelleschi Works

Portico of the Hospital of the Innocents

• Proportions: The distance between columns served as the basic unit (often divided by half).
• Style: Corinthian columns supporting semicircular arches.
• Structure: Symmetric and clear structure, featuring nine bays (cubes defined by pendentives and semispherical vaults).

San Lorenzo and Santo Spirito

Both basilicas utilize a mathematical system based on the half-column module (Corinthian order).

• San Lorenzo: Emphasizes modular mathematical relations and a centralized, privileged position for the altar.
• The design enhances the spatial experience of the perspective grid.
• Features side chapels that are integrated (blended) rather than cut out, inspired by Santa Maria del Fiore.

The Old Sacristy (San Lorenzo)

• Located in the transept of the church, utilizing a centralized scheme.
• Served as a memorial for Giovanni di Bicci de' Medici.
• Proportions: Based on a central cube topped by a hemispherical dome.
• Innovations: Features flat capitals and a dome decorated with star constellations.

Pazzi Chapel

• Utilizes Pietra Serena (a gray stone) for architectural detailing.
• Employs the same centralized concept as the Old Sacristy at San Lorenzo.
• The design rejects the massive quality often associated with Greek Revival architecture.