The document provides an overview of the history of architecture from the Early Renaissance period through the Neo-Classical phase. It discusses key periods including the Early Renaissance where designers were intent on accurately transcribing Roman elements. The High Renaissance saw Renaissance as an individual style. The Baroque period saw architecture, painting, and sculpture used in harmony. The Neo-Classical phase saw renewed inspiration from Greek and Roman architecture from 1750-1830. The document also summarizes works and contributions of influential Renaissance architects such as Brunelleschi, Alberti, Bramante, Palladio, and others.

1. Prepared by:
ARCHT. JEYCARTER A.TILOY, UAP
HISTORY OF ARCHITECTURE 2

2. 1. EARLY RENAISSANCE PERIOD (Beginning 15th Century)
Period of learning,Transitional Period from Gothic to Renaissance.
Designers were intent on the accurate transcription of Roman elements
2. HIGH RENAISSANCE or PROTO-BAROQUE (Late 15th Century – Early 16th Century)
Renaissance became an individual style in its own right
Purist or Palladian, where Roman tradition was held in high respect (represented by
Andrea Palladio) Proto-Baroque, where there was more confidence in using the acquired
vocabulary freely (represented by Michelangelo) Mannerist, where practices which had
no Roman precedent were interspersed with the usual buildings, or entire buildings were
conceived in a non-Roman way Mannerists used architectural elements in a free,
decorative and illogical way, unsanctioned by antique precedent
3.BAROQUE PERIOD (17TH Century – 1750)
Architects worked with freedom and firmly-acquired knowledge.The true nature of
Renaissance as a distinctive style began to emerge Baroque saw architecture, painting,
sculpture and the minor arts being used in harmony to produce the unified whole
4. NEO-CLASSICAL OR ANTIQUARIAN PHASE (1750-1830)
The phase in western European Renaissance architecture, 1750-1830, when renewed
inspiration was sought from ancient Greek and Roman architecture.

3. historyofarchitecture
FLORENCE
• Cities of Florence, Genoa, Milan - central, chief powers
of Italy
• Medici family - founded by Giovanni de Medici, who was
a commercial and political power
• Vitality of social life at every level
• Artists, who excelled in several arts, achieve high status
in society
• Craft guilds, with both religious and lay connotations,
directed activities of studios and workshops
• Renaissance had its birth in Florence
PALAZZI
• With the development of gunpowder, palace-type building
evolved, taking the place of fortified castles
• Built around a cortile or interior court, like medieval
cloister
• Ground floor and piano nobile
• Façade of massive, rugged, fortress-like character due to
use of rusticated masonry and wall angles called quoins
• Large windows unnecessary and unsuitable
• Low pitched roof covered by a balustrade, parapet or
boldly protruding roof cornices
Palazzo Strozzi
• By Benedetto da Majano
• Representative of the Florentine palace of that period
• Open cortile and piano nobile
• Astylar exterior of uniform rustication
• Cornice of 1/13 the height, 2.1 m projection
ROME
• Splendidly presented examples of High Renaissance and
Proto-baroque
• Famous architect is Donato Bramante
Tempietto in S. Pietro, Montorio
• Resembling small Roman circular temple with Doric
columns
• 4.5 m internal diameter
• Site where S. Peter was martyred
• Designed by Donato Bramante
• Dome on drum pierced with alternating windows and
shell-headed niches
Renaissance
PRE-HISTORIC
NEAR EAST
EGYPTIAN
GREEK
ROMAN
EARLY CHRISTIAN
BYZANTINE
ROMANESQUE
GOTHIC
RENAISSANCE
18TH-19TH C REVIVAL
20TH C MODERN
ISLAMIC
INDIAN
CHINESE & JAPANESE
FILIPINO

4. The Architects of the
Renaissance
Filippo Brunelleschi (1377 –1446)
Michelozzo di Bartolomeo (1396-1472)
Leon Battista Alberti( 1404-1472)
Donato Bramante (1444 –1514)
Andrea Palladio (1508 –1580)
Giacomo da Vignola (1507 –1573)
Michelangelo Buonarotti (1475 – 1564)

5. 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.

6. 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

7. The Foundling Hospital, 1421-1444
by Filippo Brunelleschi
The Foundling Hospital is often
considered as the first building of the
Renaissance.

8. 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.

9. 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.

10. The Basilica of Santa Maria del Santo Spirito
("St. Mary of the Holy Spirit"), 1481
San Spirito, begun 1445. The plan
played on the configurations of the
square. The current church was
constructed over the pre-existing ruins
of an Augustinian priory from the 13th
century, destroyed by a fire.

11. Michelozzo di
Bartolomeo
(1396-1472) Italian architect and sculptor.

12. Michelozzo Bartolomeo (1396-1472) and the Palazzo
Medici
Cosimo de Medici of
Florence
The Palazzo Medici is a Renaissance palace located in Florence.
• Bartolomeo was a student of Brunelleschi.
• The Palazzo was influenced by the Foundling Hospital.
• Used the arcaded courtyard of the hospital.

13. The Palazzo Medici, Florence 1444
•Rustication- stone blocks with deeply recessed chamfered joints
•Had three tiers of graduated textures, beginning with rock-faced stone at
the street level and concluding with smooth ashlar at the third level below a
10-ft high cornice with modillions, egg and dart moldings and a dentil
course.
•It was the first such cornice since ancient times.
•The building reflected Renaissance ideals of symmetry, the use of
classical elements and careful use of mathematical proportions.

14. Leon Battista Alberti
(1404-1472)
Alberti was an Italian author,
artist, architect, poet, priest, linguist, philosopher, crypto
grapher and general Renaissance humanist polymath.

15. Leon Battista Alberti (1404-1472)
•Was a classical theorist who saw architecture
as a way to address societal order.
•Alberti defined the Renaissance architect as a
universalist, an intellectual, a man of genius
and a consort to those in positions of power
and authority. He himself was a Renaissance
man.
•He worked in Rome after his studies in
Florence where he had many opportunities to
see the monuments of antiquities as well as
meet the artists who were visiting them.
•Alberti studied the writings of the classical
world like Plato, Aristotle, Plutarch and Pliny
the Elder.
•He wrote Della Pittura (On Painting) where it
included Brunelleschi’s theories of perspective
and De Re Aedificatoria (On Building), the
first architectural treatise of the Renaissance.
•The book was influenced by Vitruvius’ The
Ten Books of Architecture.

16. Leon Battista Alberti (1404-1472)
The Palazzo Rucellai (1446-1451) was the first building to use the classical orders on a
Renaissance domestic building.

17. Leon Battista Alberti (1404-1472)
San Maria Novella was the first completed design for a church facade in the
Renaissance. Alberti linked the lower aisle roof to the pedimented higher nave with
flanking scrolls.

18. Basilica of Sant'Andrea, (1472-94)
The Basilica of
Sant'Andrea is in Mantua, L
ombardy,
Italy. It is one of the major
works of 15th
century Renaissance
architecture in Northern Italy.
Commissioned by Ludovico II
Gonzaga, the church was
begun in 1462 according to
designs by Leon Battista
Alberti on a site occupied by
a Benedictine monastery, of
which the bell tower (1414)
remains. The building,
however, was finished only
328 years later.
The facade of S. Andrea,
Mantua, (1472-94) is a

19. Interior, S. Andrea, Mantua
The assemblage of classical elements on the interior presents the first Renaissance
vision rivalling the monumentality of the interior spaces of such ancient Roman ruins
as the basilicas or baths.

20. Donato Bramante
(1444 –1514)
was an Italian architect, who introduced Renaissance
architecture to Milan and the High Renaissance style to
Rome, where his plan for St. Peter's Basilica formed the
basis of the design executed by Michelangelo.
His Tempietto (San Pietro in Montorio) marked the beginning
of the High Renaissance in Rome (1502) when Alexander VI
appointed him to build a sanctuary that allegedly marked the
spot where Peter was crucified.

21. San Maria presso San Satiro
(1482-92),
For the church of San Maria
presso San Satiro (1482-92), a
street prevented Bramante from
adding a conventional choir. He
created a low relief that when
viewed on axis, has the
convincing appearance of a barrel
vaulted choir. Using the
illusionistic potential of linear
perspective , he created what
must be the ultimate use of this
device in 15th c architecture.

22. The Tempietto, Rome
(begun 1502)
•Built for King Ferdinand and
Queen Isabella of Spain
•The erection of a monument atop
the spot where St Peter was
believed to have been martyred.
•Bramante designed his building to
embody both the Platonic
preference for ideal form and
Christian reverence for tradition, in
this case reverence for the circular
martyrium of the early church.
•The building is a 2-story cylinder
capped by a hemispherical dome
and surrounded by a one-story
Doric colonnade with entablature
and balustrade.
•The metope panels of the frieze
displays symbols connecting the
current authority of the Pope to the

23. Donato Bramante (1444-1514)
Bramante’s scheme represented a building on the scale of the Baths of Diocletian capped by a
dome comparable to that of the Pantheon. Started in April 1506. By the time the church was
completed in nearly 150 years later, almost every major architect of the 16th and 17th c had
been engaged.
St. Peter’s Basilica, Rome, (1505)

24. Andrea Palladio
(1508 –1580)
Andrea Palladio was an architect active in the Republic of Venice.
Palladio, influenced by Roman and Greek architecture, primarily
by Vitruvius, is widely considered the most influential individual in
the history of Western architecture. All of his buildings are located in
what was the Venetian Republic, but his teachings, summarized in
the architectural treatise,
The Four Books of Architecture, gained him wide recognition.

25. The Four Books of Architecture
Andrea Palladio produced a body of work in
architecture that arguably has been the most
written about in all of Western architecture.
He went on study trips to Rome and made
accurate information on classical proportions,
which he later used in his designs for
buildings.
The Four Books of Architecture:
•Orders of architecture
•Domestic architecture
•Public buildings
•Town planning
•Temples
Numerals on the plans give widths and
lengths of rooms and heights. It was the most
coherent system of proportions in the
Renaissance.

26. Villa Rotonda, Vicenza (1566-70)
was his most famous residential design. It is square in plan with a central 2 story rotonda. The
central domed space radiates out to the 4 porticoes and to the elegantly proportioned rooms
in the corner. It is a powerful yet simple scheme, one that would be copied many times.

27. The design is for a completely
symmetrical building having a
square plan with four
facades, each of which has a
projecting portico. The whole
is contained within an
imaginary circle which
touches each corner of the
building and centres of the
porticos.
The name La Rotonda refers to
the central circular hall with
its dome. To describe the
villa, as a whole, as a
'rotonda' is technically
incorrect, as the building is
not circular but rather the
intersection of a square with
a cross. Each portico has
steps leading up, and opens
via a small cabinet or corridor
to the circular domed central
hall. This and all other rooms
were proportioned with
mathematical precision

28. Villa Barbaro, also known as
the Villa di Maser, is a
large villa at Maser in
the Veneto region of northern Italy. It
was designed and built by the Italian
architect Andrea Palladio.
Villa Barbaro, Maser (1557-58) was the first example of a temple front used
extensively on a domestic building.

29. San Giorgio Maggiore is a 16th century Benedictine church on the island of the
same name in Venice, designed by Andrea Palladio and built between 1566 and
1610. The church is a basilica in the classical renaissance style and its brilliant
white marble gleams above the blue water of the lagoon opposite the
Piazzetta and forms the focal point of the view from every part of the Riva degli
Schiavoni.
San Giorgio Maggiore, 1566-1610

30. Palladio offered a new solution to the Renaissance problem
of placing a classical facade in front of a basilican cross
section. He combined two temple fronts: a tall one
consisting of four Corinthian columns on pedestals that
support a pediment at the end of the nave, superimposed
over a wide one, with smaller Corinthian pilasters, that
matches the sloping aisle roofs.

31. Giacomo da Vignola
(1507 –1573)
was one of the great Italian architects of 16th
century Mannerism. His two great masterpieces are
the Villa Farnese at Caprarola and the Jesuits' Church
of the Gesù in Rome.

32. The Villa Farnese, also known as Villa Caprarola, Northern Lazio, Italy .
This villa should not be confused with the Palazzo Farnese and the Villa
Farnesina, both in Rome.
The villa is one of the finest examples of Renaissance architecture.
Ornament is used sparingly to achieve proportion and harmony. Thus while
the villa dominates the surroundings, its severe design also complements
the site. This particular style, known today as Mannerism, was a reaction
to the ornate earlier High Renaissance designs of twenty years earlier.

33. "Canon of the five orders of architecture“, 1562
His two published books helped
formulate the canon of
classical architectural style.
The earliest, "Canon of the
five orders of architecture" (first
published in 1562, probably in
Rome), presented Vignola's
practical system for
constructing columns in the
five classical orders (Tuscan,
Doric, Ionic, Corinthian and
Composite) utilizing
proportions which Vignola
derived from his own
measurements of classical
Roman monuments.
The clarity and ease of use of
Vignola's treatise caused it to
become in succeeding
centuries the most published

34. The Church of the Gesù, Rome, 1568
The Church of the
Gesù is the mother
church of the Society of
Jesus, a Roman
Catholic religious
order also known as
the Jesuits. Officially
named Church of the
Most Holy Name of
Jesus, its facade is "the
first
truly baroque façade",
introducing the
baroque style into
architecture.
The church served as
model for
innumerable Jesuit chu
rches all over the
world, especially in
the Americas. The
Church of the Gesù is

35. Michelangelo Buonarotti
(1475 – 1564)
Michelangelo di Lodovico Buonarroti
Simoni commonly known as Michelangelo was
an Italian Renaissance sculptor, painter, architect, poet,
and engineer who exerted an unparalleled influence on
the development ofWestern art. Despite making few
forays beyond the arts, his versatility in the disciplines
he took up was of such a high order that he is often
considered a contender for the title of the
archetypal Renaissance man, along with fellow
Italian Leonardo da Vinci.

36. The Palazzo Farnese
The Palazzo Farnese facade has a cornice and central window with coat of arms
at the piano nobile level. Unlike the Florentine interpretation of the type, this
palazzo has rustication only in the form of quoins and at the entry has classically
inspired window surrounds.

37. The Medici Chapels are two structures at the Basilica of San Lorenzo, Florence,
Italy, dating from the 16th and 17th centuries, and built as extensions
to Brunelleschi's 15th century church, with the purpose of celebrating
the Medici family, patrons of the church and Grand Dukes of Tuscany.
The Sagrestia Nuova, ("New Sacristy"), was designed by Michelangelo.

38. Tomb of Giuliano di Lorenzo de'
Medici with Night and Day
Tomb of Lorenzo di Piero
de'Medici with Dusk and
Dawn

39. The Laurentian library, Florence, 1524
Laurentian Library vestibule and
stairs by Michelangelo (c. 1524-
34). The library is located on
top of an existing monastery
building in San Lorenzo, Florence.
The staircase is a piece of
dynamic sculpture that appears to
pour forth from the upper level like
lava and compress the limited
floor space of the vestibule.
The impacted columns astride this
doorway create in architecture the
same kind of tension expressed in
the reclining figures at
Michelangelo’s Medici Chapel.

40. The stairway connecting the high,
narrow space of the vestibule to
the long, low room of the library
proper is among the most
remarkable inventions of
mannerist architecture. It was built
under the direction of Bartolomeo
Ammannati in 1559--more than
thirty years after work on the
vestibule had begun--in
accordance with a clay model sent
from Rome by Michelangelo.
As has often been remarked, it
resembles a lava flow that the
walls seem intent on containing.
Here the volutes assume a
character totally at odds with the
static quality of the consoles from
which they derive, having been
invested with great power, bulging
forward in the center only to
recede in the lateral swirls and
assume conventional form to
either side of the balustrade. The

41. The Laurentian library, Florence,
1524
The Laurentian Library is one of
Michelangelo's most important
architectural achievements.
The admirable distribution of the
windows, the construction of the
ceiling, and the fine entrance of
the Vestibule can never be
sufficiently extolled. Boldness and
grace are equally conspicuous in
the work as a whole, and in every
part; in the cornices, corbels, the
niches for statues, the
commodious staircase, and its
fanciful division-in all the building,
as a word, which is so unlike the
common fashion of treatment,
that every one stands amazed at
the sight thereof.
– Giorgio Vasari.

42. Laurentian Library
wooden reading desks.
The reading room of the
Laurentian Library.

43. Michelangelo's Pietà, a depiction of the
body of Jesus on the lap of his
mother Maryafter the Crucifixion, was
carved in 1499, when the sculptor was 24
years old.
The Statue of David,
completed by Michelangelo in
1504, is one of the most
renowned works of the
Renaissance.

44. St. Peter’s Basilica,
Rome

45. INTRODUCTION

46. • The Saint Peter’s Church, also called St. Peter’s
Basilica is a late Renaissance church within
Vatican City. It is Europe’s largest Christian
church.
• It is the second church to stand above the
crypt (tomb) believed to hold the body of
Saint Peter, the first pope.
• St. Peter’s is built in the shape of a cross.

47. • There has been a church on this site since the
4th century.
• Construction of the present basilica, over the
old Constantinian basilica, began on 18 April
1506 and was completed on 18 November
1626.
• As a work of architecture, it is regarded as the
greatest building of its age.

48. OLD ST. PETER’S BASILICA (Constantinian Basilica)

49. OLD ST. PETER’S BASILICA (Reconstructed
Building Plans)

50. Nero’s Circus, Old St. Peter’s, New St. Peter’s
Approximate ground plan: Note that the base of the northern grandstand of the circus
becomes the foundation of the southern wall of Old St. Peter’s. Peter’s tomb was just
north of the road that ran along the northern side of the Circus. It became the centre
of the crossing of the naves and transepts of both the Old and New St. Peter’s.

51. HISTORY

52. • The first St. Peter’s Church was begun by
Constantine the Great about 325. He built the
church to celebrate his acceptance of
Christianity.
• The church was modeled on the Basilica, a
rectangular building used as a meeting hall by
the Romans. Four rows of columns, extending
almost the length of the church, divided it into
a nave with two aisles on either side.

53. • In 1452, Pope Nicholas V began to restore and
expand the church. The restoration continued
until 1506, when Pope Julius II decided to
rebuild the church completely.
• During its construction, 10 different architects
worked on St. Peter’s and changed its design.
• The first architect was Donato Bramante. He
designed a domed, perfectly symmetrical
church in the form of a Greek cross(a cross
with four arms of equal length).

57. historyofarchitecture
S. Peter, Rome
• Most important Renaissance building in Italy
• With cathedral, piazza and the Vatican, forms a world-
famous group
• 120 years, outcome of the works of many architects
under the direction of the pope
12 Architects:
1. Bramante
• His design was selected from several entries in a
competition
• He proposed a Greek cross plan and a dome similar to
the Pantheon in Rome
• Foundation stone laid in 1506
2. Giuliano da Sangallo
• Upon death of Julius II in 1513
3. Fra Giocondo
4. Raphael
• Proposed a Latin cross plan
• Died
5. Baldassare Peruzzi
• Reverted to Greek cross
• Died
6. Antonio da Sangallo
• Slightly altered plan - extended vestibule and campanile,
and elaborated the central dome
• Died
7. Michelangelo
• Undertook the project at 72 years old - present building
owes most of its outstanding features to him
• Greek-cross plan, strengthened dome, redesigned
surrounding chapels
8. Giacomo della Porta
9. Domenico Fontana
• Completed dome in 1590
10. Vignola
• Added sided cupolas
11. Carlo Maderna
• Lengthened nave to form Latin cross and built the
gigantic facade
12. Bernini
• Erected noble entrance piazza 198 m wide with Tuscan
colonnade
• Completed plan is a Latin cross with an internal length of
183 m, width of 137 m
• At crossing, majestic dome of 41.9 m internal diameter
• Largest church in the world
Renaissance
PRE-HISTORIC
NEAR EAST
EGYPTIAN
GREEK
ROMAN
EARLY CHRISTIAN
BYZANTINE
ROMANESQUE
GOTHIC
RENAISSANCE
18TH-19TH C REVIVAL
20TH C MODERN
ISLAMIC
INDIAN
CHINESE & JAPANESE
FILIPINO

58. ARCHITECTS OF ST. PETER
BASILICA
1. Donato Bramante
- Bramante proposed a Greek Cross plan, the centre of
which would be surmounted by a dome slightly larger
than that of the Pantheon.
2. Giuliano Da Sangallo
Superseded Bramante’s work when Pope Julius II
died in 1513
– He strengthened and extended the peristyle of Bramante
into a series of arched and ordered openings around
the base. In his hands, the rather delicate form of the
lantern, based closely on that in Florence, became a
massive structure, surrounded by a projecting base, a
peristyle and surmounted by a spire of conic form, but
the plan was simply too eclectic to be considered.

59. ARCHITECTS OF ST. PETER
BASILICA
3. Fra Giovanni Giocondo
-Superseded the Bramante’s work together with
Guiliano Da Sangallo
4. Raffaello Sanzio
- The main change in Raphael's plan is the nave of five
bays, with a row of complex apsidal chapels off the
aisles on either side.
- Proposed Latin cross plan

60. 5. Baldassare Peruzzi
- Maintained changes that Raphael had
proposed to the internal arrangement of
the three main apses, but otherwise
reverted to the Greek Cross plan and other
features of Bramante.
Reverted to Greek cross plan
6. Antonio Da Sangallo The Younger
- Main practical contribution was to
strengthen Bramante's piers which had
begun to crack.
- Slightly altered plan, extended vistibule
and elaborated the central dome
ARCHITECTS OF ST. PETER
BASILICA

61. 7. Michelangelo Buonarotti
– He reverted to Bramante’s original design,
the Greek Cross and converted its
snowflake complexity into massive,
cohesive unity.
Strengthened dome and redesigned
surrounding chapel
8. Giacomo Barozzi da Vignola
Appointed by Pope Pius V as a watchdog to
make sure that Michelangelo's plans
were carried out exactly after his death.
Added the sided copulas
ARCHITECTS OF ST. PETER
BASILICA

62. 9. Giacomo Della Porta
- He subsequently altered Michelangelo’s design by
adding of lion's masks over the swags on the drum
in honor of Pope Sixtus and adding a circlet of
finials around the spire at the top of the lantern, as
proposed by Sangallo. Also proposed to raise the
outer dome higher above the inner one.
- Designed the dome with Fontana.
10. Domenico Fontana
He completed the dome in 1590.
ARCHITECTS OF ST. PETER
BASILICA

63. 11. Carlo Maderno
He made the most significant contribution
since Michelangelo, because he pulled down
the remaining parts of Old St. Peter's and
proceeded to transform Michelangelo's
centralized Greek-cross design, lengthened
the nave to form into a Latin cross and built
a gigantic facade.
12. Gian Lorenzo Bernini
He was regarded as the greatest architect and
sculptor of the Baroque period. Bernini's
works at St. Peter's include the baldacchino,
the Chapel of the Sacrament, the plan for
the niches and loggias in the piers of the
dome, the chair of St. Peter and erected the
noble piazza (St. Peter’s Square) with 284
Ionic columns.
ARCHITECTS OF ST. PETER
BASILICA

64. PLANNING

65. BRAMANTE’S
PLAN
Donato Bramante
won Pope Julius II
Della Rovere’s design
contest for the new
church. Bramante
proposed a Greek
Cross plan, the
centre of which
would be
surmounted by a
dome slightly larger
than that of the
Pantheon.

66. RAPHAEL’S
PLAN
Raphael’s plan
was for a basilica
in the form of a
Roman Cross
with a short
pronaos and a
façade.

67. MICHELANGELO’S
PLAN
Michelangelo changed
Bramante’s plan for a
balanced and restful dome
into a dynamic construction.
He put a drum(ring) at the
base of the dome that
appears to be squeezing the
dome and forcing its sides to
spring upwards. He
shortened Raphael’s nave,
but Carlo Maderno added
back the nave and added the
famous façade.

68. CARLO MADERNO’S
PLAN
He made the most
significant contribution
since Michelangelo, because
he pulled down the
remaining parts of Old St.
Peter's and proceeded to
transform Michelangelo's
centralized Greek-cross
design into a Latin cross
with a long nave.

69. MADERNO’S PLAN
• This extension of the basilica was undoubtedly necessary from the point of
view of practical requirements, but it destroyed Michelangelo's great
conception and substituted something less impressive, since the great dome
can no longer be appreciated from every point of view.
• As a result of these alterations, Maderno had to design a facade which would
not detract too much from the dome and, at the same time, would be worthy
of its setting and also contain a central feature, the Benediction Loggia, to
provide a frame for the figure of the pope when he appeared in public.
• These conflicting requirements were met as far as possible by Maderno's
adaptation of a typical Roman palace facade, with decorative motives taken
from Michelangelo's works.
•The plan to provide bell towers at the ends to enframe the dome in distant
views had to be abandoned because the foundations gave trouble. The work,
including the decoration, was completed and consecrated on Nov. 18, 1626.

70. MADERNO’S
PLAN

72. MADERNO’S FAÇADE.
•The façade designed by Maderno, is 114.69
metres (376.3 ft) wide and 45.55 metres (149.4 ft)
high.
•It is built of travertine stone, with a giant order of
Corinthian columns and a central pediment rising
in front of a tall attic surmounted by thirteen
statues: Christ flanked by eleven of
the Apostles (except Peter, whose statue is left of
the stairs) and John the Baptist.

74. THE EXTERIOR
• The church was given an impressive setting by Gian
Lorenzo Bernini, one of its architects.
• An avenue almost 1.5 kilometers long leads from the
Tiber River to the Piazza Di San Pietro (Square Of St.
Peter), a large open space in front of the church.
• A red granite obelisk (shaft) stands 26 meters high in
the piazza’s centre. It was brought to Rome from Egypt
about A.D. 37, and was moved to the piazza in 1586.
• The Piazza which was completed in 1667, contains two
fountains and two colonnades (rows of columns)
arranged in semicircles on opposite sides of the Piazza.

76. THE INTERIORS
• The interior of the church is decorated in Baroque style.
• Bernini, who was also a sculptor, created many of its famous
features in the 1650s.
• He built the elaborate bronze baldacchino (canopy) over the main
alter, which stands beneath the dome. It closes the extremely long
sweep of the nave and is 95 Ft. high.
• As may be seen in the accompanying plan, the four principal
divisions of the basilica extend from the dome and are connected
with each other by passages behind the dome piers.
• To the right and the left of the nave lie the smaller and lower aisles,
the right of which is bordered by four lateral chapels, the left by
three chapels and the passage to the roof.

77. Bernini's first work at St. Peter's was to design
the baldacchino, a pavilion-like structure
30 metres (98 ft) tall and claimed to be the
largest piece of bronze in the world, which
stands beneath the dome and above the altar. Its
design is based on the ciborium, of which there
are many in the churches of Rome, serving to
create a sort of holy space above and around the
table on which the Sacrament is laid for the
Eucharist and emphasizing the significance of
this ritual. These ciborium are generally of
white marble, with inlaid coloured stone.
Bernini's concept was for something very
different. He took his inspiration in part from
the baldachin or canopy carried above the head
of the pope in processions, and in part from
eight ancient columns that had formed part of a
screen in the old basilica. Their twisted barley-
sugar shape had a special significance as the
column to which Jesus was bound before his
crucifixion was believed to be of that shape.
Based on these columns, Bernini created four
huge columns of bronze, twisted and decorated
with olive leaves and bees, which were the
emblem of Pope Urban.
- Wikipedia

79. THE INTERIORS
• The general decoration consists of colored marble
incrustations, stucco figures, rich gilding, mosaic decoration,
and marble figures on the pilasters, ceiling, and walls.
• The paneling of the pavement in geometric figures is of
colored marble after the designs of Giacomo della
Porta and Bernini.
• Beneath it is the Confession of St. Peter, where the body of
the Prince of Apostles reposes – the tomb of St. Peter’s.
• No chairs or pews obstruct the view; the eye roves freely over
the glittering surface of the marble pavement, where there is
room for thousands of people.

90. Pope John Paul XXIII

91. The Holy Door -
only opened on
special occasions

100. DIMENSIONS
• Major axis of the piazza - 1115.4 feet.
• Minor axis of the piazza - 787.3 feet.
• Vestibule of the basilica - 232.9 feet wide, 44.2 deep, and 91.8 high.
• Height and width of the nave - 151.5 feet and 90.2 feet respectively.
• Entire length of the basilica including the vestibule - 693.8 feet.
• From the pavement of the church (measured from the Confession) to
the oculus of the lantern resting upon the dome the height - 404.8
feet;
• To the summit of the cross surmounting the lantern - 434.7 feet.
• The measurements of the interior diameter of the dome vary
somewhat, being generally computed at 137.7 feet, thus exceeding
the dome of the Pantheon by a span of 4.9 feet.
•The surface area of St. Peter's is 163,182.2 sq. feet.

103. SECTION THROUGH ST. PETER’S SQUARE.