Early renaissance architecture in Italy

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Textbook: Lotz, Wolfgang, and Deborah Howard. Architecture in Italy, 1500-1600. New Haven:
Yale University Press, 1995. Print.
Early renaissance architecture in Italy
The classic revival
Gothic architecture abandonment in Italy occurred and in its place classic models were
occasioned. This was obviously not a local revolution. Evidently, the revolution was because of a
reflective and universal intellectual faction, with roots traced to the middle ages. All these were
manifested in Italy because the conditions were extremely propitious. The spread was rapid in
Europe with similar conditions witnessed in other countries, which seems to be prepared to
embrace the concept. Classic Roman architecture has never lost Italian taste influence. Gothic
art, which is already experiencing a decline in the West, was never embraced in Italy; rather, a
borrowed garb with clothing architectural conceptions preferred to Gothic. The antique
monuments that abounded on each hand seemed present in artist models and Florentines that
were associated with the early fifteenth century. This unique civilization represented a human
culture, which was ideal. The situation resulted to churches losing their hold on culture as well as
the increased penetration of the new culture in private luxury as well as public display.
Early Beginnings
The 13th century saw the Niccolo Pisano pulpits found in Sienna together with Pisa
reveal the fact the master’s direct recourse associated with antique monuments for motivation.
There was frequent appearance of classic forms in the fourteenth centaury as evident in the
followers of frescoes of Giotto and Gothic buildings architectural details. This was evident in
Florence, which was considered Italy artistic capital. There had never been a community
permeated with love for beauty and endowed with the ability to recognize it since Pericles days.
Niccolo Pisano pulpits
Periods
Four classic styles emanated from Renaissance. The first one involved the early
renaissance (1420–90). It was characterized by freedom of attractive detail, recommended by
Roman prototypes. The composition entailed great variety and authenticity. The second one was
high renaissance (1490–1550). This period saw classic details being copied with rising fidelity as
evident in orders appearing in approximately all compositions. At the same time, the decoration 
seemed to lack grace and autonomy. The third style was Baroco (1550–1600), which was
a classic formality period, exemplified by the usage of colossal orders, scanty direction, and
engaged columns. The last one was Later Baroque that was marked by invention of poverty as
portrayed in their composition. The predominate factor was vulgar sham and decoration display.
Broken pediments characterized the style with vast scrolls, florid stuccowork in addition to
complete ignorance of architectural propriety considered universal.
Early renaissance (1420–90)
High renaissance (1490–1550)
Baroco (1550–1600)
Later Baroque balconies
Florence early renaissance
The year 1417 saw a public competition conducted for the completion of Florence
Cathedral. This entailed a dome to be constructed over the huge octagon, which was 143 feet in
relation to diameter. A sculptor called Filippo Brunelleschi and an architect (1377–1446),
together with Donatello began their journey to Rome with an aim of studying of ancient art
masterworks. Their demonstrations of weaknesses in all the proposed solutions buy the
competitors permitted them undertake the huge task. The plan had an octagonal dome found in 
two shells liked by other eight major in addition to sixteen minor ribs crowned at the top by a
lantern. The original conception went beyond the Moslem art and emerged as a peripheral
feature. It terminated light forms while the upward lantern movement carried out between 1420
and 1464. Even with no wise Roman forms imitation, it remained classic in spirit, vastness, and
line simplicity. All these were made possible by Brunelleschi Roman design study as well as
construction. The Renaissance architect occupied themselves mostly with form rather than
construction, and hardly ever experienced constructive challenges. The new architecture started
with the gigantic cathedral dome in Florence with culmination of an astonishing St. Peter church
in Rome. It was mainly a palaces and villas architecture decorative display façades. Constructive
challenges were reduced to lowest terms with constructive framework concealed and not
highlighted by the decorative design apparel. The early Renaissance masterpieces were buildings
of small dimensions like gates, fountains chapels, and tombs.
Cathedral dome in Florence
Other Churches
Brunelleschi’s unique models were constructed in Pazzi Chapel found in Sta. A charming
Greek design called Croce Cross covered a dome at an intersection, and paved way for vestibule
with an opulently