MANNERISM ARCHITECTURE ( 1600 AD)LECTURE 12Mannerist architecture often employs classical elements in a new and unusual way that defies traditional formulas.

Mannerism comes from the Italian word maniera meaning mannered or Style

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THE LATE RENAISSANCE AND MANNERISM IN 16TH CENTURY ITALYEvents:Reorientation of trade routes from the east (Italy in prime location) to the west (discovery of America)Ever increasing threat of Turkish invasionMachiavelli publishes The Prince 1532: advocates that each situation determines whether one should be good or bad-moral and economic relativityClassical calm, harmonious images no longer in fashionArtistic license practiced more freely and openly (for a little while at least)

Map of 16th Italy

The Fontainebleau SchoolFrench Mannerism flourished from 1531 to the early 17c.Characteristics:Extensive use of stucco in moldings & picture frames.Frescoes.An elaborate [often mysterious] system of allegories and mythical iconography.Centered around the Royal Chateau of Fontainebleau.

ARCHITECTURAL CHARACTERCharacteristics of Mannerist ArchitectureStylishness in design could be applied to a building as well as to a painting.

Showed extensive knowledge of Roman architectural style.

Complex, out of step style taking liberties with classical architecture.

Architecture, sculpture, and walled gardens were seen as a complex, but not necessary unified whole.

MANNERIST TENDENCIESEXAGGERATING ELEMENTSDISTORTING ELEMENTSBREAKING RULES OF ARRANGEMENTJOKINGUSING OBSCURE CLASSICAL PRECEDENTSOVER-REFININGINVENTING FREE COMPOSITIONSABSTRACTING CLASSICAL FORMSSUGGESTING PRIMITIVENESSSUGGESTING INCOMPLETENESSSUGGESTING IMPRISONMENTSUGGESTING STRUCTURAL FAILURE

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MANNERISMMANNERISM WAS MARKED BY WIDELY DIVERGING TENDENCIES IN THE WORK OF MICHELANGELO, GIULIO ROMANO, PERUZZI AND ANDREA PALLADIO, THAT LED TO THE BAROQUE STYLE IN WHICH THE SAME ARCHITECTURAL VOCABULARY WAS USED FOR VERY DIFFERENT RHETORIC.

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ARCHITECTURAL CHARACTERBaldassare Peruzzi (14811536)an architect born inSiena, but working in Rome,His work bridges the High Renaissance and the Mannerist. HisVilla Farnesinaof 1509 is a very regular monumental cube of two equal stories, the bays being strongly articulated by orders of pilasters. The building is unusual for its frescoed walls

ARCHITECTURAL CHARACTERBaldassare Peruzzi (14811536)Peruzzis most famous work is thePalazzo Massimo alle Colonnein Rome. The unusual features of this building are that its faade curves gently around a curving street. It has in its ground floor a dark central portico running parallel to the street, but as a semi enclosed space, rather than an open loggia. Above this rise three undifferentiated floors, the upper two with identical small horizontal windows in thin flat frames which contrast strangely with the deep porch, which has served, from the time of its construction, as a refuge to the citys poor

ARCHITECTURAL CHARACTERGiulio Romano(14991546)a pupil of Raphael, assisting him on various works for the Vatican.Romano was also a highly inventive designer, working forFederico II Gonzagaat Mantua on thePalazzo Te, a project which combined his skills as architect, sculptor and painter. In this work, incorporating gardengrottoesand extensive frescoes, he usesillusionistic effects, surprising combinations of architectural form and texture, and the frequent use of features that seem somewhat disproportionate or out of alignment. The total effect is eerie and disturbing.

Giulio Romano, Palazzo del Te, 1525-1535, Matnua, ItalyExteriorInterior courtyard

Horse farm and a villaUnsettling architectural settingTriglyphs dip into the cornice, creating holes abovePediment corners do not meetWindow openings at unconventional locations

Engaged columns divide faade into unequal baysMassive columns carry almost no weight, a narrow cornice

Keystone pops out of the archesOddly sized stonesHighly unusual placement of arch, below a pediment

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ARCHITECTURAL CHARACTERMichelangelo Buonarroti(14751564)He excelled in each of the fields of painting, sculpture and architecture and his achievements brought about significant changes in each area. His architectural fame lies chiefly in two buildings: the interiors of theLaurentian Libraryand its lobby at the monastery of San Lorenzo in Florence, andSt Peter's Basilicain Rome.St Peter's was"the greatest creation of the Renaissance",[and a great number of architects contributed their skills to it. But at its completion, there was more of Michelangelos design than of any other architect, before or after him.

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ARCHITECTURAL CHARACTERSt Peter'sThe plan that was accepted at the laying of the foundation stone in 1506 was that by Bramante. Various changes in plan occurred in the series of architects that succeeded him, but Michelangelo, when he took over the project in 1546, reverted to Bramantes Greek-cross plan and redesigned the piers, the walls and the dome, giving the lower weight-bearing members massive proportions and eliminating the encircling aisles from the chancel and identical transept arms.Michelangelos dome was a masterpiece of design using two masonry shells, one within the other and crowned by a massive lantern supported, as at Florence, on ribs. For the exterior of the building he designed a giant order which defines every external bay, the whole lot being held together by a wide cornice which runs unbroken like a rippling ribbon around the entire building.

ARCHITECTURAL CHARACTERSt Peter's

ARCHITECTURAL CHARACTERSt Peter's

ARCHITECTURAL CHARACTERSt Peter's

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ARCHITECTURAL CHARACTERSt Peter's

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ARCHITECTURAL CHARACTERLaurentian Library, florenceMichelangelo was at his most Mannerist in the design of the vestibule of theLaurentian LibraryThe Library is upstairs. It is a long low building with an ornate wooden ceiling, a matching floor and crowded with corrals finished by his successors to Michelangelos design. But it is a light room, the natural lighting streaming through a long row of windows that appear positively crammed between the order of pilasters that march along the wall. The vestibule, on the other hand, is tall, taller than it is wide and is crowded by a large staircase that pours out of the libraryThe space is crowded and it is to be expected that the wall spaces would be divided by pilasters of low projection. But Michelangelo has chosen to use paired columns, which, instead of standing out boldly from the wall, he has sunk deep into recesses within the wall itself

ARCHITECTURAL CHARACTERLaurentian Library

ARCHITECTURAL CHARACTERLaurentian Library

ARCHITECTURAL CHARACTERLaurentian Library

ARCHITECTURAL CHARACTERLaurentian Library

ARCHITECTURAL CHARACTERAndrea Palladio (150880)"the most influential architect of the whole Renaissance

His first major architectural commission was the rebuilding of theBasilica PalladianaatVicenza, in theVenetowhere he was to work most of his life.

Palladio was to transform the architectural style of both palaces and churches by taking a different perspective on the notion of Classicism, with their simple peristyle form.

When he used the triumphal arch motif of a large arched opening with lower square-topped opening on either side, he invariably applied it on a small scale, such as windows, rather than on a large scale as Alberti used it at SantAndreas.

This Ancient Roman motif is often referred to as thePalladian Arch.

ARCHITECTURAL CHARACTERAndrea Palladio (150880)

ARCHITECTURAL CHARACTERAndrea Palladio (150880)The best known of Palladios domestic buildings isVilla Capra, otherwise known as "la Rotonda", a centrally planned house with a domed central hall and four identical faades, each with a temple-like portico like that of thePantheonin Rome.

Andrea Palladio, Villa Rotunda, 1566-1570, Vincenza, Italy

Building has four identical facades, each with a different viewInterior has rotunda, with four larger rooms alternating with four smaller spaces to allow for more intimate settings

When building viewed from a far, no matter from what angle, it looks completeUsed as a working farm, family estate, villa retreatVilla appears as a mini temple; perhaps a residence of the Muses; ideal nature of the central plan evokes the ancients

Symmetrical ground planLow round Roman-style dome, not the domes of the RenaissanceOriginally the dome had an oculus, like the Pantheon, now glazed

Building set on a high podium; pediments dominate doors and windows

Andrea Palladio, San Giorgio Maggiore, 1565, Venice

Interlocking pediments and columns

High pedestals for columns

More Mannerist than the Villa Rotunda, two temple facades intersect

Clearly lit interior

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