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1. San Lorenzo
The Basilica di San Lorenzo (Basilica of St
Lawrence) is one of the largest churches of
Florence, Italy, situated at the centre of the
city’s main market district.
Architectural type Church
Architectural style Renaissance
Ground-breaking 15th century
Completed c. 1740
The project was begun around 1419 and
completed 1740.

2. Plan
Despite its history, the building is seen as one of the great
examples of the new style. Its more notable features include:
the attempt to create a proportional relationship between nave
and aisle (aisle bays are square whereas nave bays are 2X1).
the articulation of the structure in pietra serena (Italian: “dark
stone”).
the use of an integrated system of column, arches, entablatures.
a clear relationship between column and pilaster, the latter
meant to be read as a type of embedded pier.
the use of proper proportions for the height of the columns
the use of spherical segments in the vaults of the side aisles.
There are significant problems in the design, most, however,
occur at the level of detail. Already Giorgio Vasari thought that
the columns along the nave should have been elevated on
plinths.[3] That the pilasters along the wall of the side aisles rest
on a floor that is three steps higher than the nave, is also
considered an error.
San Lorenzo is often compared with Santo Spirito, also in
Florence. Santo Spirito, which Brunelleschi began somewhat
later, is considered to have been constructed more or less in
conformity with his ideas, even though Brunelleschi died before
most of it was built.

3. Michelozzo
Michelozzo produced several innovations in the design of the Florentine
palazzo, or palace. The basic plan called for a blocklike structure, usually
three stories high, with a central open court.
• Palazzo Medici Riccardi
• Santissima Annuzi Florence
• Tomb of Antipop John XXII
• Villa Medici
• Cortile, Florence
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4. Palazzo Medici Riccardi
• The palace was designed by Michelozzo di Bartolomeo
for Cosimo de' Medici, head of the Medici banking
family, and was built between 1444[2] and 1484.
• It was well known for its stone masonry includes
rustication and ashlar.
• The tripartite elevation used here expresses the
Renaissance spirit of rationality, order, and classicism
on human scale.
• Michelozzo di Bartolomeo was influenced in his
building of this palace by both classical Roman and
Brunelleschian principles.
• The transition from the rusticated masonry of the
ground floor to the more delicately refined stonework
of the third floor makes the building seem lighter and
taller as the eye moves upward to the massive cornice
that caps and clearly defines the building's outline.

5. Plan
Towards 1444 Cosimo the Eldest, the patriarch of the
Medici family, commissioned to Michelozzo a palace to be
built in via Larga (now via Cavour), close to the church of
San Lorenzo: the palace is the first Renaissance building
erected in Florence. Characterised by clearly delineated
and rusticated floors and a huge cornice crowning the
roofline, the palace stands out for the arched windows
arranged along its front and the partially closed loggia on
the corner of the building.
By 1460 the palace was complete (it was also the
residence of Lorenzo the Magnificent), although in 1517
the original building was altered by closing the loggia and
adding the two "kneeling" windows according to
Michelangelo's project. Originally designed as a sort of
cube with ten windows for each ground and three big
doors in the facade.

6. Santissima Annunziata,
Florence
• The Basilica della Santissima Annunziata
(Basilica of the Most Holy Annunciation) is a
Roman Catholic minor basilica in Florence,
Italy, the mother church of the Servite order.
• It is located at the northeastern side of the
Piazza Santissima Annunziata.
• This church is entered from the Chiostrino dei
Voti. The Baroque decoration of the church
interior was begun in 1644, when Pietro
Giambelli frescoed the ceiling with an
Assumption as a centerpiece based on designs
by Baldassare Franceschini.

7. Plan• The present structure took shape between
1444 and 1477, when Michelozzo began the
tribune with its radiating chapels, later
finished by Leon Battista Alberti.
• The breath-taking interior, with arches and
piers sheathed in coloured marble (16th and
17th century), has a golden ceiling decorated
between 1664 and 1670 to a design by
Baldasarre Franceschini, known as Volterrano,
who also painted the canvas of the
Assumption.
• Towards the end of the 15th century the
height of the nave was increased. The church
was consecrated in 1516.
• Outside, above the central arch of the portico,
built in 1601 by the architect Giovanni
Battista Caccini, there are traces of frescoes
painted between 1513 and 1514 by
Pontormo, and the central doorway is
surmounted by a mosaic of the Annunciation
by Davide Ghirlandaio (1509).

8. Tomb of Antipope John XXIII
• The Tomb of Antipope John XXIII is
the marble-and-bronze tomb
monument of Antipope John XXIII
(Baldassare Cossa, c. 1360–1419),
created by Donatello and Michelozzo
for the Florence Baptistry adjacent
to the Duomo.
• It was commissioned by the
executors of Cossa's will after his
death on December 22, 1419 and
completed during the 1420s,
establishing it as one of the early
landmarks of Renaissance Florence.
According to Ferdinand Gregorovius,
the tomb is "at once the sepulchre
of the Great Schism in the church
and the last Papal tomb which is
outside Rome itself"

9. Plan
• The tomb monument adapted to the conditions
imposed by the Calimala and integrated with the
interior of the Baptistry.
• The setting starves the tomb monument of light,
especially when the Baptistry’s doors are closed,
which is normally the case.
• It would be even darker were it not for the "screen"
back wall protruding 48.4 centimetres (19.1 in) from
the Baptistry wall.
• The white and brown (and whitish-brown) marble
further integrates the structure with
the polychromatic white and green of the Baptistry
interior.
• The canopy’s interaction with the columns and
conceit of being supported by the Baptistry cornice
make the tomb monument further "wedded to the
architecture" around it, even if the marriage is
morganatic.[49] Apart from the effigy on the
sarcophagus, all the other sculpted figures are in
high relief.

10. Leon Battista Alberti
He epitomised the Renaissance Man. Although he is often characterized as an
"architect" exclusively, as James Beck has observed, "to single out one of Leon
Battista's 'fields' over others as somehow functionally independent and self-
sufficient is of no help at all to any effort to characterize Alberti's extensive
explorations in the fine arts
Notable work
• Tempio Malatestiano
• Palazzo Rucellai
• Santa Maria Novella

11. Tempio Malatestiano
• Architect(s) Leon Battista
Alberti
• Architectural type Church
• Architectural style Romanesque
• Groundbreaking 800
• Completed 1468

12. Plan
The church is immediately recognizable from its
wide marble façade, decorated by sculptures
probably made by Agostino di Duccio and Matteo
de' Pasti. Alberti aspired to renew and rival the
Roman structures of Antiquity, though here his
inspiration was drawn from the triumphal arch, in
which his main inspiration was the tripartite Arch of
Constantine in Rome, though as Rudolf Wittkower
remarked,he drew details (the base, the half-
columns, the discs, mouldings) from the Arch of
Augustus. The large arcades on the sides are
reminiscent of the Roman aqueducts. In each blind
arch is a sarcophagus, a gothic tradition of
interment under the exterior side arches of a
church.

13. Palazzo Rucellai
• Palazzo Rucellai is a palatial 15th-century
townhouse on the Via della Vigna Nuova in
Florence, Italy.
• The Rucellai Palace is believed by most scholars
to have been designed by Leon Battista Alberti
between 1446 and 1451 and executed, at least in
part, by Bernardo Rossellino.
• Its facade was one of the first to proclaim the
new ideas of Renaissance architecture based on
the use of pilasters and entablatures in
proportional relationship to each other.

14. Plan
• Like traditional Florentine palazzi, the façade is divided into
three tiers. But Alberti divided these with the horizontal
entablatures that run across the facade (an entablature is
the horizontal space above columns or pliasters).
• The first tier grounds the building, giving it a sense of
strength.
• This is achieved by the use of cross-hatched, or rusticated
stone that runs across the very bottom of the building, as
well as large stone blocks, square windows, and portals of
post and lintel construction in place of arches.
• Both of these tiers also have pilasters, although on the
second tier they are of the Ionic order, and on the third
they are Corinthian. The building is also wrapped by
benches that served, as they do now, to provide rest for
weary visitors to Florence.

15. Basilica of Santa Maria Novella
• Year consecrated : 1420
• Ecclesiastical or organizational status
• Architectural type :Church
• Architectural style :Gothic-Renaissance
• Groundbreaking :1279
• Completed :14th century

16. Plan
The vast interior is based on a basilica plan, designed as
a Latin cross and is divided into a nave, two aisles with
stained-glass windows and a short transept. The large
nave is 100 metres long and gives an impression of
austerity. There is a trompe l'oeil-effect by which this
nave towards the apse seems longer than its actual
length. The slender compound piers between the nave
and the aisles are ever closer when you go deeper into
the nave. The ceiling in the vault consists of pointed
arches with the four diagonal buttresses in black and
white.
The interior also contains corinthian columns that were
inspired by the Classical era of Greek and Roman times.

17. Donato Bramante
Bramante's architecture has eclipsed his painting skills: he knew the painters Melozzo da Forlì
and Piero della Francesca well, who were interested in the rules of perspective and illusionistic
features in Mantegna's painting. Around 1474, Bramante moved to Milan, a city with a deep
Gothic architectural tradition, and built several churches in the new Antique style. The Duke,
Ludovico Sforza, made him virtually his court architect, beginning in 1476, with commissions
that culminated in the famous trompe-l'oeil choir of the church of Santa Maria presso
Notable Work:
• St. Peter's Basilica
• San Pietro in Montorio
• Santa Maria delle Grazie
• Santa Maria della Pace

18. St. Peter's Basilica
• Architectural style Renaissance and
Baroque
• Groundbreaking 18 April 1506
• Completed 18 November 1626
• Length 730 feet (220 m)
• Width 500 feet (150 m)
• Height (max) 448.1 feet (136.6 m)[1]
• Dome dia. (outer) 137.7 feet (42.0 m)
• Dome dia. (inner) 136.1 feet (41.5 m)

19. Plan
Bramante had envisioned that the central dome be
surrounded by four lower domes at the diagonal axes.
The equal chancel, nave and transept arms were each to
be of two bays ending in an apse. At each corner of the
building was to stand a tower, so that the overall plan was
square, with the apses projecting at the cardinal points.
Each apse had two large radial buttresses, which squared
off its semi-circular shape. At this point Antonio da
Sangallo the Younger submitted a plan which combines
features of Peruzzi, Raphael and Bramante in its design
and extends the building into a short nave with a wide
façade and portico of dynamic projection.
His proposal for the dome was much more elaborate of
both structure and decoration than that of Bramante and
included ribs on the exterior. Like Bramante, Sangallo
proposed that the dome be surmounted by a lantern
which he redesigned to a larger and much more
elaborate form.[32] Sangallo's main practical contribution
was to strengthen Bramante's piers which had begun to
crack.

20. San Pietro in Montorio
• San Pietro in Montorio is a church in
Rome, Italy, which includes in its
courtyard the Tempietto, a small
commemorative martyrium (tomb) built
by Donato Bramante.
• Year consecrated 1500
• Leadership Cardinal James Francis
Stafford
• Patron Saint Peter
• Architect(s) Donato Bramante
• Architectural type Church
• Groundbreaking 1481

21. Plan
The church is decorated with artworks by prominent 16th- and 17th-century
masters.
The first chapel on the right contains Sebastiano del Piombo's Flagellation and
Transfiguration (1516–1524). Michelangelo, who had befriended Sebastiano in
Rome, supplied figure drawings that were incorporated into the Flagellation.
The second chapel has a fresco by Niccolò Circignani (1654), some Renaissance
frescoes from the school of Pinturicchio, and an allegorical sibyl and virtue
attributed to Baldassarre Peruzzi.
The fourth chapel has a ceiling fresco by Giorgio Vasari. Although there is no grave
marker, tradition has it that Beatrice Cenci—executed in 1599 for the murder of
her abusive father and made famous by Percy Bysshe Shelley, among others—is
buried either in this chapel or below the high altar.
The ceiling of the fifth chapel contains another fresco, the Conversion of St. Paul,
by Vasari. The altarpiece is attributed to Giulio Mazzoni, while the funerary
monument of Innocenzo Ciocchi Del Monte, Cardinal Giovanni Maria Del Monte
and Roberto Nobili are by Bartolomeo Ammannati.
Facade of San Pietro in Montorio, with entrance to the cloister at right.
Until 1797, Raphael's final masterpiece, the Transfiguration graced the high altar;
it is now in the Vatican pinacoteca. The altar currently displays a copy by
Cammuccini of Guido Reni's Crucifixion of St. Peter (also now in Vatican museum).

22. Santa Maria Presso San Satiro
Architect(s) Donato Bramante;
Giovanni
Architectural type Church
Architectural style Mannerism
Groundbreaking 1476
Completed 1482

23. Plan
The edifice has a nave and two aisles with barrel vault.
The nave is surmounted by a hemispherical dome at the
crossing with the transept. The choir, which had to be
truncated a depth of only 90 cm (3.0 ft) due to the
presence of a main road, was replaced by Bramante with
a painted perspective, realizing in this way one of first
examples of trompe l'oeil in history of art.
Originally the interior was decorated with white and gold
paint. The walls had frescoes by Borgognone, now
transferred to the Pinacoteca di Brera. The ancient
sacellum of San Satiro was also covered with cotto
decoration and enriched with a terracotta portraying the
Dead Christ by Agostino de Fondulis.
The bell tower is still that of the Romanesque edifice
preceding the 1480s reconstruction. Also from the 15th
century is the baptistry annexed to the church.

24. Antonio da Sangallo the Younger
Antonio da Sangallo the Younger (April 12, 1484 – August 3, 1546), born Antonio Cordiani, was
an Italian architect active during thHe often worked with his brother Giovanni Battista da
Sangallo. The two worked on numerous projects together, Giovanni Battista responsible for
measuring and surveying.e Renaissance.
Notable Structures :
• St. Peter’s Basilica
• Palazzo Farnese
• Villa Farnese
• Fortezza da Basso

25. St. Peter's Basilica
• Architectural style Renaissance and
Baroque
• Groundbreaking 18 April 1506
• Completed 18 November 1626
Specifications
• Length 730 feet (220 m)
• Width 500 feet (150 m)
• Height (max) 448.1 feet (136.6 m)
• Dome dia. (outer) 137.7 feet (42.0 m)
• Dome dia. (inner) 136.1 feet (41.5 m)

26. Plan
Bramante had envisioned that the central dome be
surrounded by four lower domes at the diagonal axes.
The equal chancel, nave and transept arms were each to
be of two bays ending in an apse. At each corner of the
building was to stand a tower, so that the overall plan was
square, with the apses projecting at the cardinal points.
Each apse had two large radial buttresses, which squared
off its semi-circular shape. At this point Antonio da
Sangallo the Younger submitted a plan which combines
features of Peruzzi, Raphael and Bramante in its design
and extends the building into a short nave with a wide
façade and portico of dynamic projection.
His proposal for the dome was much more elaborate of
both structure and decoration than that of Bramante and
included ribs on the exterior. Like Bramante, Sangallo
proposed that the dome be surmounted by a lantern
which he redesigned to a larger and much more
elaborate form.[32] Sangallo's main practical contribution
was to strengthen Bramante's piers which had begun to
crack.

27. • Architect Antonio da Sangallo
• Location Rome, Italy map
• Date 1534
• Building Type palace, large
house
• Construction System cut
stone masonry
• Context urban
• Style Italian Renaissance
Palazzo Farnese

28. Plan
One of the vault and ceiling fresco by Annibale Carracci is
Galleria Farnese, an art gallery. According to Ann Sutherland
Harris, "The Galleria frescoes make even more extensive
use of ancient sculptural and architectural sources, and in
addition take their basic structure from two ceilings by the
most prestigious artists of the High Renaissance in Rome,
the Loggia of Psyche by Raphael and Michelangelo's Sistine
Chapel ceiling". Carracci adopted the quadri riportati, which
the ceiling is divided into units and turned it into a
collection of framed paintings, along with the cast masks
among the garlands, and carved putti, and sculptures
supporting the central scene. This large central scene
depicts the triumphal progress of Bacchus and Ariadne. Two
smaller paintings are attached to the top and bottom of the
central picture, and two vertical pictures on either side,
filled with sphinxes, Pan, and two satyrs.

29. Villa Farnese
• Date1560
• Building Type large house,
country villa - a renaissance castle
• Construction Systembearing
masonry
• Context rural, town edge
• StyleItalian Renaissance
• Notes Pentagonal plan with
curving inner facades around a
circular courtyard on the inside, and
a moat around the outside.
Elaborate multi-stage entry
sequence. Famous circular
staircase.

30. Plan
The villa's interiors are arranged over five
floors, each floor designed for a different
function. The main rooms are located on the
first floor or piano nobile, where a large central
loggia (now glazed in) looks down over the
town, its main street and the surrounding
countryside. This hall is known as the Room of
Hercules on account of its fresco decorations,
and was used as a summer dining hall. It has a
grotto-like fountain with sculpture at one end.
To either side of the loggia are two circular
rooms: one is the chapel, the other
accommodates the principal staircase or Scala
Regia, a graceful spiral of steps supported by
pairs of Ionic columns rising up through three
floors and frescoed by Antonio Tempesta.

31. Raphael
His work is admired for its clarity of form, ease of composition, and visual achievement
of the Neoplatonic ideal of human grandeur. Together with Michelangelo and
Leonardo da Vinci, he forms the traditional trinity of great masters of that period. The
best known work is The School of Athens in the Vatican Stanza della Segnatura.
Notable Art:
• The Madonna of the Meadow
• The School of Athens" The
Signature Room, The Vatican,
Rome.
• The Triumph of Galatea 1512
• The Vision of Ezekiel 1518.
Oil on Panel, Palazzo Pitti,
Florence.

32. The Madonna of the Meadow
The Madonna with the Christ Child and Saint John
the Baptist is a 1506 painting by Raphael, now held in
the Kunsthistorisches Museum in Vienna. It is also
known as Madonna del prato (Madonna of the
Meadow) or Madonna del Belvedere (after its long
residence in the imperial collection in the Vienna
Belvedere).
The three figures in a calm green meadow are linked
by looks and touching hands. The Virgin Mary is
shown wearing a gold-bordered blue mantle set
against a red dress and with her right leg lying along a
diagonal. The blue symbolizes the church and the red
Christ's death, with the Madonna the uniting of
Mother Church with Christ's sacrifice. With her eyes
fixed on Christ, her head is turned to the left and
slightly inclined, and in her hands she holds up Christ,
as he leans forward unsteadily to touch the miniature
cross held by John. The poppy refers to Christ's
passion, death and resurrection.

33. The School of Athens: The
Signature Room
The largest of the twelve rooms is the Sala di
Costantino ("Hall of Constantine"). Its paintings
were not begun until Pope Julius and indeed,
Raphael himself had died. The room is dedicated
to the victory of Christianity over paganism. Its
frescoes represent this struggle from the life of
the Roman Emperor Constantine, and are the
work of Giulio Romano, Gianfrancesco Penni and
Raffaellino del Colle. Because they are not by the
master himself, the frescos are less famous than
works in the neighboring rooms. Continuing a
long tradition of flattery, Raphael's assistants
gave the features of the current pontiff, Clement
VII, to Pope Sylvester in the paintings.

34. The Vision of Ezekiel
The work is remembered by Renaissance art
biographer Giorgio Vasari as property of a Bolognese
nobleman, Vincenzo Ercolani. There is trace of
payment by him to Raphael for 8 ducats in 1510, but
this is generally considered just a down payment,
since stylistically the work (inspired for example by
Michelangelo's Sistine Chapel ceiling) cannot be
dated before 1518.
In Florence since as early as 1589, it was ceded to
Francesco I de' Medici and was placed at the Uffizi.
The painting is known to be at Palazzo Pitti in 1697.
In 1799 it was robbed by the French, who kept it in
Paris until returning it back in 1816.
The work was once considered to be by the hand of
Giulio Romano, with Raphael providing only the
drawing. However, it has been subsequently assigned
to Raphael.

35. Thank You!