This document provides information on several key figures and works from the Early Renaissance period in Italy. It discusses Filippo Brunelleschi's innovations in architecture including his use of linear perspective and dome design for the Florence Cathedral. It also outlines the contributions of Leon Battista Alberti, including his treatises on classical architecture and designs such as the Palazzo Rucellai. The document further examines works by Giuliano da Sangallo, Andrea Mantegna, and Pietro Perugino that demonstrated developments in architectural planning and fresco painting during the 15th century Renaissance.

1. SHORT REVIEW OF PREVIOUS CLASS
In the previous lecture we studied about the early art of Renaissance
which included sculptures, art and painting.
The general characteristics present in sculptures were gravity,
roundness of form and their relation with a background. As for the
paintings the material mainly used was fresco while the general
principles mostly followed were perspectives, roundness of form,
positioning in space, humanization of religious events and the
identification of fabric worn by characters in the paintings.
CLASS REVIEW
This lecture is about the time when Renaissance art and architecture
had just started to gain recognition as a new form of design.
Individualism had already started to develop, so the work of Filippo
Brunelleschi, Alberti, Giuliano Da Sangallo and others stood out and got
famous through out Europe.

2. RENAISSANCE PERIOD
FILIPPO BRUNELLESCHI
Born in 1377, Florence – Italy.
He was one of the founding father of
RENAISSANCE.
He was a scholar of Latin and spent his time
studying the Roman ruins scattered all over
Europe. One of the things he is famous for is
developing the technique of Geometric Linear
Perspective. He was the first architect of
Renaissance Period but before that he was an
excellent mathematician, a goldsmith and a
sculptor. During his time a change in building
monuments is observed.
FOUNDALING HOSPITAL (1419 - 1424)
FACADE OF THE OPEDALE DEGLI INNOCENTI – Commissioned by Giovanni Li Medici
 The first thing to be noticed is the Roman Arch; Brunelleschi studied roman work in
great detail.
 Simple facade compared to the Gothic Era.
 Clear horizontal lines which added horizontality to the structure.
 Cylinder Corinthian Columns – He composed them in such a way that the lower diameter
is big compared to the upper diameter.
 Bands that go around the arches.
 Between two arches, roundels with an angel inside it.
 No. of arches is eleven because an odd no. gives a central opening feel to the facade and
at the end he placed a dead wall with a small window.
 Further on top pedimented windows.
 The interior has proper ventilation and it’s well lit because of many windows placed;
unlike the Gothic architecture where the no. of windows and light entering was low.
 Basically, his building gives a fusion of logic and traditional elements.
Key Characteristics: Symmetrical, Non-Mysterious, Clearly Articulated.
As far as proportion goes the Gothic Period has a ratio of 1:3 minimum between
horizontality and verticality, where as now the proportion of buildings become 2:1

3. SANTO SPIRITO (1436)
- Commissioned by the Pazzi Family.
 Instead of the typical cross plan, Brunelleschi designed the first centralized plan of a
chapel.
 It is well proportioned. Entrance is proportioned with the ratio of 1:2.
 The central dome is the double of the dome at the entrance accorded to proportion.
 It has been composed of 4 squares.
 There is visual order, everything is in harmony with each other in the plan as well as
structure
 It is actually a rectangular plan but because the transepts are short it gives a square
feeling.
 Instead of columns, pilasters with Corinthian capitals were designed.
THE PAZZI CHAPEL (1429)
 Longitudinal plan of church instead of centralized plan.
 Nave and Transept is short hence it gives a centralized
feeling.
 Proportion of the building is 1:2.
 Every aisle is a square stopped by a short wall.
 Nave is double of the aisle square according to plan.
 Crossing like a square topped by dome.
 It is a horizontal, well lit and open kind of church.
 Arches are decorated with bands of darker colors.
 Even though the plan is horizontal the ambiance it gives is
that of a centralized plan.
Key Characteristics: Light, Airy, Horizontality, Simplicity,
Logical, Proportionate.
*The above mentioned characteristics would later be a part of modern architecture.

4. DOME OF FLORENCE CATHDRAL (1420-36)
Dominating the skyline of Florence, Florence Cathedral is the biggest cathedral.
It had been 125 years since it’s construction but the cathedral was kept empty - without a
ceiling or a dome. So a competition was held to design a dome for the cathedral. This time
around as well there were two runner ups, none other than Brunelleschi and Lorenzo
Ghiberti. Brunelleschi won the competition.
Since the Florentines wanted a tall, soaring dome and the open space in the cathedral was
140 Ft. wide, there was a limit to what you can achieve by vaulting for example 11-12 Ft. So
the first issue was that the span of the building was too big and the second issue was
scaffolding (the usual way to build an arch or dome was to support it with scaffolding called
“centering.”) so Brunelleschi invented a pulley system like a crane – a machine with chains to
counter the issue of scaffolding.
As for the dome the whole structure was designed to be light and slim in both form and
substance. In fact, from an octagonal drum of the dome stand eight segments, the sails,
arranged on two shells separated by a space. Brunelleschi wove regular courses of
herringbone brickwork, little known before his time, into the texture of the cupola, giving
the entire structure additional solidity. There were 8 major ribs each of which had two
more ribs made of stone, one piece placed on top of another, so a total of 24 ribs were
designed. The shape of the dome is ogival (like an egg) to sustain the pressure. The lantern
was built after his death but it was still designed by him.

5. LEON BATTISTA ALBERTI
Born in 1404, Genoa – Italy.
He was an architect as well as renowned in many
other fields like painter, sculptor, mathematician
and poet. He spent a lot of time studying Vitruvius
trying to find his ideal way of architecture. He
wrote three books on treaties of architecture
which clarified his ideal form and shape etc. He
also wrote about centralized type of plan and
emphasized that an arch is a simple opening in wall
and not something you must place on two columns
hence criticizing The Medieval Architectural
Relation of columns and arch.
 3 Storeys are clearly visible.
 The order of columns is changing
with floors.
 Massive structure.
 Heavy cornice at the top.
 Visually the structure gets lighter
as it goes up.
 Net of facade is stretched.
 Looks too stern.
 Similar to the Roman’s Coliseum.
 Low relief – no deep penetration.
 The order of columns from ground
to top is Duscan, Composite and
Corinthian respectively.
 Texture is subdued and uniform.
 Pilasters are shallow.
PALAZZO RUCELLAI (1446-51)
SANTA MARIA NOVELLA (1458-70)
 Facade of the gothic cathedral
was redesigned and
constructed during
Renaissance by Alberti.
 It feels like Alberti designed
and then pasted the facade.
 A very different facade from
normal.
 Scrolls at the side started a
trend in Italy.
 Structural geometry shows
two superimposed squares.
 Entrance has Corinthian
pilasters.
 Decoration is in the form of
bands.

6. TEMPIO MALATESTINO (1450-1468)
- Commissioned by Sigismondo Pandolfo Malatesta.
 Church of Francesco.
 Gothic Cathedral reconstructed by Malatesta Family because he wanted himself, his
wife and mistress as well as the future generations to be buried here (A pagan/roman
idea)
 Large Pediment on top.
 Instead of pilasters there are piers.
 Material of construction was marble taken from Roman ruins.
 Inspiration taken from the Roman’s Triumphal Arch.
 Construction incomplete. (Tempio Malatestino as envisioned by Alberti.)
SANT’ ANDREA (1472)
Now the Renaissance design had travelled to other cities. This church located in Mantua,
Italy already existed, Alberti just replaced it with a new one. The facade is composed of a
square that has tall pilasters. The massive wall has openings in the form of arches and is
topped by a triangular pediment which seems like a hybrid between triumphal arch and a
temple from Roman Architecture. Pilasters have Corinthian capital (they would later be
called colossal order used by Michelangelo). Interior nave is flanked by huge massive walls
spanned by barrel vaults. It is a simple yet massive structure. Interior was inspired by
basilica from Constantine. It has no colonnade, arms and aisle. Chambers are single walled
and independent. Breaking away from Christian's plan and moving more toward a centralized
type plan.

7. GIULIANO DA SANGALLO
Born in 1443, Florence – Italy.
He was an architect, sculptor, and military engineer
active during the Italian Renaissance. Giuliano had the
opportunity to study the works of ancient architects
such as Pliny the Younger and Vitruvius as well as his
more immediate predecessors such as Leonardo
Battista Alberti and Filippo Brunelleschi. Through
this, he was able to develop his creative eye and learn
about classical design. He is known primarily for being
the favored architect of Lorenzo de' Medici, his
patron.
Giuliano's first major, independent commission came from none other than the Medici
family and it showed not only his architectural skill but also his knowledge of defensive
fortifications. Lorenzo the Magnificent called upon Giuliano to build military fortifications
and manage the artillery in the town of Castellina against an invasion led by the Duke of
Calabria. In this role, Giuliano successfully pushed out the Calabrian forces and showed his
natural talent for military building and strategy.
SANTA MARIA DELLE CARCERI (1485)
 First example of Greek-Cross Plan in Renaissance architecture.
 Central plan – From the middle everything seems identical in all directions.
 This church has four equal arms surmounted by a small dome.
 White and green marble is used for exterior.
 According to him, central plan was more appropriate for religious buildings.
 No alter, no nave.
 Entrance facade is not any different compared to other facades – every side looks the
same.
 Arms are very short.
 It’s a massive, cubic building.
 Facade is divided into horizontal storeys.
 Doric topped by Ionic capital (a combination used by Brunelleschi and Alberti).

8. ANDREA MANTEGNA
PIETRO PERUGINO
DeliveryOfTheKeys/ChristGivingTheKeysToSaintPeter
Located in Sistine chapel, Vatican City – Rome. It is a
painting on fresco by an Italian painter Pietro
Perugino; executed in 1481-1482.
The concept of this painting was that Christ is fine
with belonging to the Pagans as well. The key
represent the power to forgive and to share the word
of God thereby giving them the power to allow others
into heaven.
As for its general characteristics, he placed the key
on axis. There is a vanishing point and clear geometric
order present in the painting. It’s a composition in
which 2D and 3D are interlocked with each other.
Also it seems clearly well lit (which will later influence
Rafael and Michelangelo).
The main figures are organized in a frieze in two tightly compressed rows close to the
surface of the picture and well below the horizon. The principal group, showing Christ
handing the silver and gold keys to the kneeling St. Peter, is surrounded by the other
Apostles, including Judas (fifth figure to the left of Christ), all with halos, together with
portraits of contemporaries, including one said to be a self-portrait (fifth from the right
edge). The flat, open square is divided by colored stones into large foreshortened
rectangles. In the center of the painting is the porticoed Temple of Solomon. On either side
are triumphal arches. Scattered in the middle distance are two scenes from the life of
Christ, including the Tribute Money on the left and the Stoning of Christ on the right.
CameraDegliSposi/CameraPicta
The Camera Degli Sposi (bridal chamber), sometimes known as the Camera Picta (painted
chamber), is a room frescoed with illusionistic paintings by Andrea Mantegna in the Ducal
Palace, Mantua - Italy. Painted between 1465-74.
 Each panel was painted differently before the whole wall was painted.
 Edges were decorated with patterns and medallions.
 Ceiling presents an oculus that illusionistically opens into a blue sky, with foreshortened
putti playfully frolicking around a balustrade.
 This painting is architectural as well as pictorial.