Relevant bibliographies by topics / Architecture, Renaissance – Italy

Academic literature on the topic 'Architecture, Renaissance – Italy'

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Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Architecture, Renaissance – Italy"

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Mukhin, A. S. "Transformation of Renaissance world view on dome architecture of Italy in 15–16st centuries." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 30–37. http://dx.doi.org/10.30725/2619-0303-2017-2-30-37.

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Monuments of the Italian Renaissance are considered as the symbols of cosmological ideas. The space of the temple is likened the universe in categories developed by the intellectuals of the Renaissance, given the astronomical model of AristotlePtolemy. Discoveries in science, the struggle of ideas and worldviews reflected in the church architecture and construction of country houses. The article was proven that the crisis of anthropocentrism caused by the consequences derived from the theory of Copernicus, reflected in the architectural practice of the 16st century.
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Čehovský, Petr. "Význam raně renesanční architektonické skulptury na lombardské a moravské umělecké periferii." Kultúrne dejiny 14, no. 2 (2023): 132–61. http://dx.doi.org/10.54937/kd.2023.14.2.132-161.

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This case study examines the importance of artistic periphery in the field of early Renaissance architectural sculpture in the years circa 1480 – 1550. The Renaissance style spread to Central Europe especially from Italy. In the older historical art literature opinions often emerged that Central European stonemasons did not understand the principles of Italian Renaissance art, and because of this misunderstanding they combined Renaissance style with Gothic. The author has undertaken long-lasting terrain research of early Renaissance architectural sculpture in one Central European and one Italian region of artistic periphery: the Moravian part of the Dyje valley and Val Camonica in Lombardy. In both regions were very elaborately stylistically examined stone decorations of architecture in the years circa 1480 – 1550. When the information about client´s social status, travel itinerary was known, also the influence of client on the style of architectural culpture was researched. On the basis of terrain research, the author comes to the conclusion that stonemasons in the Moravian part of the Dyje valley in the time of early Renaissance created architectural sculptures in the same styles that Italian artists in Val Camonica did: Romanesque Renaissance, a mixed style combining Gothic with Renaissance, early Renaissance architectural sculptures closely following the antique models, early Renaissance architectural sculptures created as an innovative modification of antique models.
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Merrill, Elizabeth. "The Professione di Architetto in Renaissance Italy." Journal of the Society of Architectural Historians 76, no. 1 (March 1, 2017): 13–35. http://dx.doi.org/10.1525/jsah.2017.76.1.13.

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The Professione di Architetto in Renaissance Italy shows how Renaissance Italian architects used the concept of the professione di architetto as a way to affirm and delineate the character of their occupation. Drawing inspiration from antiquarian models and taking advantage of the humanist ethos, these architects equated “profession” with manual and theoretical expertise, social authority, and the fulfillment of artistic, civic, and moral ideals. Elizabeth Merrill places the origins of architectural professionalism in early modern Italy—rather than in the nineteenth-century movements frequently cited by social historians—and describes the theoretical context for the architect's professional rise. Positioning themselves alongside university-educated professors, architects of Renaissance Italy crafted didactic treatises about their work and created academies for its instruction, foreshadowing a long history of architectural discourse that continues to this day.
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Weddle, Saundra. "Street Life in Renaissance Italy." Journal of the Society of Architectural Historians 81, no. 1 (March 1, 2022): 105–6. http://dx.doi.org/10.1525/jsah.2022.81.1.105.

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Meister, Maureen. "In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century." Prospects 28 (October 2004): 185–202. http://dx.doi.org/10.1017/s0361233300001472.

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After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visited England and France, and he was convinced that the architecture and sculpture of those countries were superior to what he had seen in Italy, although he admired Italian Renaissance painting. When still in Rome, he told his brother how disagreeable he found the “Renaissance architecture in Italy contemporary with Michael Angelo and later under Palladio and Vignola,” preferring the work of English architects Inigo Jones and Wren. Warren appreciated some aspects of the Italian buildings of the 15th and early 16th centuries, but he considered the grandeur and opulence of later Renaissance architecture especially distasteful.
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Betts, Richard J. "Structural Innovation and Structural Design in Renaissance Architecture." Journal of the Society of Architectural Historians 52, no. 1 (March 1, 1993): 5–25. http://dx.doi.org/10.2307/990755.

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The characteristic structural forms of large Renaissance churches-domes, drums, pendentives, and barrel vaults-were the products of innovation in theory and practice during the later fifteenth century in Italy that culminated in Bramante's projects for the new Saint Peter's. Significant ideas were contributed by Leon Battista Alberti, Francesco di Giorgio, and Leonardo da Vinci. Francesco di Giorgio's geometrical methods of design for churches as described in his second treatise incorporate a procedure for calculating the thickness of walls bearing vaults. Francesco di Giorgio tested the procedure in his own churches, and it was later used by Bramante.
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Kusenko, Olga I. "Preface to translation." History of Philosophy 27, no. 2 (November 10, 2022): 117–30. http://dx.doi.org/10.21146/2074-5869-2022-27-2-117-130.

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In this article, we provide the first commented edition and translation of an important fragment from Vladimir Zabugin’s posthumous work “The History of the Christian Renaissance in Italy” (Milan, 1924). Zabugin was a Russian historian, philologist and thinker, who lived and worked in Italy in the first quarter of the 20th century. He made an important contribution to the history of ideas with his concept of “Christian Renaissance”, abolishing the postulated antithesis of the Middle Ages and Renaissance as well as the idea of the Renaissance as the revival of antiquity. A sudden death in a mountaineering accident in the Italian Alps prevented Zabugin from completing his outstanding monography: editing the text, compiling notes, bibliography, name index, the absence of which made it very difficult for specialists to refer to the text. That is because a special focus of the present article lies in commenting the fragment and guiding the reader through Zabugin’s key conceptional points. The presented fragment of the first chapter of the book sought to emphasize the continuity of classical and christian culture in Italian proto-Renaissance literature, philosophy, architecture, fine arts. Refering to the eve of the Renaissance (13th century), Zabugin clearly demonstrates how the Christian culture “imperat” here, and the pagan one “ministrat”.
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Wagner, Aleksandra, and Neil Spiller. "Magical Transubstantiations: A Voyage to Italy." Architectural Design 94, no. 2 (March 2024): 68–73. http://dx.doi.org/10.1002/ad.3036.

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AbstractVisiting Italy in 1978 as part of his own Grand Tour, Lebbeus Woods was able to see some of the treasures of the Renaissance and the Baroque. The ensuing mix of reality and imagination prompted the Editors of this 2, Aleksandra Wagner and Neil Spiller, to consider the visual travelogue –Cityscapes – in a similar manner, combining speculation and truth.
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Hobson, Marlena. ":The Renaissance Perfected: Architecture, Spectacle, and Tourism in Fascist Italy." Sixteenth Century Journal 37, no. 1 (March 1, 2006): 251–52. http://dx.doi.org/10.1086/scj20477792.

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Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy." AJS Review 37, no. 2 (November 2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.

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The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.
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Dissertations / Theses on the topic "Architecture, Renaissance – Italy"

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Kirkbride, Robert. "The renaissance studioli of Federico da Montefeltro and the architecture of memory /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82902.

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This investigation of the studioli, small contemplation chambers in the ducal palaces of Urbino and Gubbio, considers their position in the western tradition of the memory arts. Drawing upon select images in the studioli, as well as text sources readily available to Duke Federico da Montefeltro (1422--82) and the members of his court, this inquiry examines how the discipline of architecture equipped the late quattrocento mind with a bridge between the mathematical arts, which lend themselves to mechanical practices, and the art of rhetoric, a discipline central to the cultivation of memory and eloquence. As ramifications of material and mental craft, the studioli offered the Urbino court models for education and prudent governance.
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Pereira, Claudio C. (Caludio Calovi) 1961. "Architectural practice and the planning of minor palaces in Renaissance Italy, 1510-1570." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/69404.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1998.
Includes bibliographical references (v. 1, leaves 157-164).
This dissertation proposes to study how the commission and design of minor palaces contribute to the understanding of architectural practice in early 16th century Italy. The particular nature of the small urban palace as a reduced and less expensive version of larger palaces and its recurrent nature in the practice of architects malke this type of building very important in illustrating the changes in the profeSSion at that time. Minor palace commissions also show architects dealing with a growing private market for the exercise of the profession: in Rome, the architect's clients belong to a lesser nobility composed of merchants and professional men (doctors, lawyers, notaries, artists, diplomats, bureaucrats) mostly connected to the Papal civil service. Moreover, the planning of these buildings manifest the increasing specialization of the profession at that time, when expertise in Ancient Roman architecture and the mastering of new instruments of representation (orthogonal projection, perspective, sketches) were added to the usual technical and artistic skills required of an architect. The dissertation focus on how architects define a planning procedure to cope with the new set of circumstances related to the commission of a minor palace (budget, site, program, recurrence). The design of a palace comprised different functions arranged in horizontal sequence with a few vertical connections; therefore, drawings of plans were the central instrument of their design. The dissertation is primarily based on the study of original plans that illustrate the working methods of 16th century Italian architects. Three of them were chosen (Antonio da Sangallo the Younger, Baldassare Peruzzi and Andrea Palladio) based on their activity as ~esigners of minor palaces and the existence of a substantial amount of plans for this kind of building by them. A second part of this work presents a general view of the working procedures employed by these three architects in commissions of minor palaces. Through the study of their drawings and planning procedures, this dissertation intends to illustrate the establishment of the modern sense of architectural practice in 16th century Italy as shown through the design of minor palaces.
by Caludio C. Pereira.
Ph.D.
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Sobrino, Guillermo Manuel. "The villas of Palladio and the transformation of the site /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69700.

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The complex panorama of the Mediterranean area in the fourteenth century compelled Venice to modify its economic patterns. The city started to pay attention to the Italian mainland, developing its agriculture and other industries. But the Veneto was marshy and needed to be drained and improved. The Venetian and mainland aristocracy gradually abandoned commerce for agriculture and land reclamation. Andrea Palladio built many villas for them from which they could administer their estates, transforming the marshes of the Veneto into sites for the villas. Those villas became the perfect place for retirement and contemplation.
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Kanerva, Liisa. "Defining the architect in fifteenth-century Italy : exemplary architect in L. B. Alberti's De Re aedificatoria /." Helsinki : Academia scientiarum fennica, 1998. http://catalogue.bnf.fr/ark:/12148/cb391068384.

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Allen, Joanne. "Choir stalls in Venice and northern Italy : furniture, ritual and space in the Renaissance church interior." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3603/.

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This thesis seeks to re-establish the significance of choir stalls in Venice and northern Italy and seeks to place stalls in their artistic, liturgical and spatial context. Although now situated in remote locations in the church, stalls were once highly prized items of furniture and considered to be praiseworthy artistic structures in their own right. As the location for religious ritual, the elevated status of the choir area was reflected in the detailed and sophisticated design of its wooden furniture. Through an analysis of visual and documentary material, stalls will be brought to the fore to consider broader questions. What can documents reveal about Renaissance workshop practices and the relationship between craftsmen and patrons? How did the form of stalls reflect their use in religious ritual and the organisation of sacred space? How did choir furniture develop as an independent medium within the artistic context of the Renaissance church interior? Four main topics will be considered in the first four chapters: the visual history of stalls; the contracting procedure; the use of stalls in liturgical practices; and changes to choir placement. Chapter One reconstructs the stylistic history of north-Italian choir stalls from the fourteenth to early sixteenth centuries and contains an excursus on the development and meaning of intarsia iconography. Chapter Two focuses on choir contracts, which confirm that choir furniture was a considerable investment and a potential source of rivalry between church communities Chapter Three moves the focus away from stalls as material objects to their role in liturgical practices. An excursus on the established use of misericords in Carthusian liturgy will demonstrate the close interaction between form and function in stall design, and places Italian stalls in the context of their European counterparts. The placement of choirs in the church interior will be examined in Chapter Four using case studies of choir placement in different secular and religious houses, in particular the Franciscan Observants, Franciscan Conventuals and the Dominicans. Although changes in choir placement are often associated with liturgical reforms implemented by the Council of Trent, church renovations in fact occurred well before this period. Two Venetian case studies demonstrate the value of examining individual choir precincts in their original stylistic and spatial context. Chapter Five focuses on stalls in the Benedictine nuns’ church of San Zaccaria in Venice, completed by the Cozzi workshop in 1464. The choir precinct in the Frari in Venice is amongst the best-preserved choir precincts in Italy and is discussed in detail in Chapter Six; the circumstances of its construction are closely related to new choir furniture in the Santo in Padua. Specific terminology is explained and collated in the Glossary and an Appendix contains transcriptions and translations of significant documents.
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MacElwee, Andrea L. (Andrea Laurel). "Allegory and the architecture of Francesco Borromini." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22545.

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This thesis relates the aspirations (examined in political treatises, literary programs and scientific treaties) of Pope Urban VIIIth with the allegorical spaciality of the architecture of Francesco Borromini. The projects initiated under the patronage of the Pope are particularly related to the Pope's election. Urban's personal impressa, the Angelic Sun is an emblem of this election, a reborn sun, a second personal birth and the elevation of the Angelic Pope (the leader of the age of the Holy Spirit). This is allegorically a metamorphosis like the re-birth of Daphne into Laurel; the Tree of Aeneas and Rome and the principal Barberini impressa. As a dynastic emblem the Laurel unites the cosmic territories of the sun and the moon, the traditional emblems of cosmic kingship and world domination. The metaphysical marriage to Rome (coronation and marriage are ritually linked, like the union of the sun and the moon) metaphorically appropriates the capacity of giving birth through construction, to a new city, an intellectual city in the image of Urban, the threshold for spirit. The architecture 'contains' this intellectual body (city), a dynastic emblem of the Angelic Pope.
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Petiot, Damien. ""Templum [...] maximum et primarium est urbis ornamentum". Architecture et cadre urbain des églises dans les traités, les villes neuves et les aménagements urbains de l'Italie de la Renaissance (1450-1615)." Thesis, Tours, 2018. http://www.theses.fr/2018TOUR2028.

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Édifice emblématique de la Renaissance, l’église fut au coeur des réflexions théoriques des architectes italiens. Leur pensée, émanant directement du De architectura de Vitruve et de ses nombreuses éditions renaissantes, accorde également à la ville un rôle majeur dans l’élaboration d’une communauté humaine idéale. Il n’est donc guère étonnant que les deux thèmes, architecture religieuse et art urbain, se rencontrent dans la théorie comme dans la pratique pour magnifier la demeure divine. Toutefois, loin d’être mis à l’écart, le lieu de culte s’insère au sein d’un réseau viaire dense et complexe qu’il faut analyser soigneusement pour juger au mieux de la place accordée à ce type de monuments. Située à proximité d’autres symboles du pouvoir, tels que les palais seigneuriaux et communaux, l’église instaure un dialogue ambivalent avec ces derniers. De même, la place et/ou l’avenue qui la précèdent peuvent aussi bien contribuer à son isolement qu’à son intégration urbaine. Au fil des lectures, les concepts même d’architecture religieuse et de cadre urbain apparaissent donc polysémiques. Et l’analyse des constructions de la Renaissance ne clarifie en rien la situation. S’appuyant sur des sources variées (traités d’architecture, ouvrages d’humaniste, dessins, plans, etc.) le présent travail tend à interroger les valeurs multiples des lieux de culte de la Renaissance. Leur cadre urbain contribue-t-il nécessairement, comme l’affirme Alberti, à en faire les principaux embellissements de la cité ?
Symbolic edifice of the Renaissance, the church was fundamental in Italian architects’ theoretical reflexions. Their thought, based on Vitruvius’ De architectura and its numerous Renaissance editions, attributes also a great importance to the town in the development of an ideal human community. There’s nothing surprising about that both topics, religious architecture and town planning, meet each other in the theory as in the pratice to glorify the God’s house. However, not at all isolated, the place of worship is inserted in a concentrated urban network. Located close to other symbols of power, like seigneurial castle and local council, the church establishes an ambivalent dialogue with them. Similarly, the town square and the avenue can contribute to its isolated location or its urban integration. Therefore, the notions of religious architecture and town planning appear polysemous. Relying on varied sources (treatises, humanists’ writings, drawings, plans, etc.) the present thesis strives to examine the numerous values of Renaissance’s churches. Does their urban setting participate to make the church the city’s greatest and noblest ornament, as claimed by Alberti ?
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Heringuez, Samantha. "La représentation de l'architecture dans l'oeuvre des peintres romanistes de la première moitié du XVIe siècle : jean Gossart, Bernard Van Orley et Pieter Coecke van Aelst." Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2020.

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Enracinés dans un gothique très fécond, mais tournés vers d’autres horizons, les premiers peintres romanistes du XVIe siècle n’ont pas seulement bousculé toutes les conventions de la peinture traditionnelle flamande, ils ont aussi diffusé le langage classique de l’architecture antique et renaissante découverte lors de leur séjour en Péninsule. En introduisant progressivement des motifs all’antica à l’intérieur de leurs oeuvres picturales, ils ont dans une certaine mesure engagé les bâtisseurs des anciens Pays-Bas à se sensibiliser à cette nouvelle esthétique venue d’Italie. Malgré l’intérêt qu’elles représentent, leurs architectures fictives n’ont jamais été l’objet d’une analyse. À travers l’étude des décors de trois figures majeures du premier Romanisme, Jean Gossart, Bernard van Orley et Pieter Coecke van Aelst, nous tenterons de déterminer les sources de l’italianisme de leur langage afin d’évaluer leur connaissance effective en matière d’architecture classique et d’apporter un nouveau témoignage sur le développement de la Renaissance dans les anciens Pays-Bas
Rooted in a fertile Gothic, but turned to other horizons, the first Romanists painters of the XVIth century have not only knocked down all the conventions of the traditional Flemish painting, but they have also broadcasted the classic language of ancient and renaissance architecture discovered during their stay in the Peninsula. By introducing gradually motives all’antica inside their pictorial works, they have encouraged to a certain extent the builders of the Low Countries to get acquainted with this new aesthetics come from Italy. Despite the interest which they represent, their fictitious architectures have never been studied. Through the study of the architectural backgrounds of three major figures of the first Romanism, Jean Gossart, Bernard van Orley and Pieter Coecke van Aelst, we shall try to determine the sources of the Italianism of their language to evaluate their effective knowledge in classic architecture and to bring a new testimony on the development of the Renaissance in the Low Countries
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Hammond, Joseph. "Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.

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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.
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Pereira, Claudio Calovi. "Architectural practice and the planning of minor palaces in renaissance : italy 1510-1570." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 1998. http://hdl.handle.net/10183/52943.

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This dissertation proposes to study how the commission and design of minor palaces contribute to the understanding of architectural practice in early 16th century Italy. The particular nature of the small urban palace as a reduced and less expensive version of larger palaces and its recurrent nature in the practice of architects malte this type of building very important in illustrating the changes in the profession at that time. Minor palace commissions also show architects dealing with a growing private market for the exercise of the profession: in Rome, the architect's clients belong to a lesser nobility composed of merchants and professional men (doctors, lawyers, notaries, artists, diplomats, bureaucrats) mostly connected to the Papal civil service. Moreover, the planning of these buildings manifest the increasing specialization of the profession at that time, when expertise in Ancient Roman architecture and the mastering of new instruments of representation (orthogonal projection, perspective, sketches) were added to the usual technical and artistic skills required of an architect. The dissertation focus on how architects define a planning procedure to cope with the new set of circumstances related to the commission of a minor palace (budget, site, program, recurrence). The design of a palace comprised different functions arranged in horizontal sequence with a few vertical connections; therefore, drawings of plans were the central instrument of their design. The dissertation is primarily based on the study of original plans that illustrate the working methods of 16th century Italian architects. Three of them were chosen (Antonio da Sangallo the Younger, Baldassare Peruzzi and Andrea Palladio) based on their activity as designers of minor palaces and the existence of a substantial amount of plans for this kind of building by them. A second part of this work presents a general view of the working procedures employed by these three architects in commissions of minor palaces. Through the study of their drawings and planning procedures, this dissertation intends to illustrate the establishment of the modern sense of architectural practice in 16th century Italy as shown through the design of minor palaces.
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Books on the topic "Architecture, Renaissance – Italy"

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Heydenreich, Ludwig Heinrich. Architecture in Italy, 1400-1500. New Haven: Yale University Press, 1996.

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Auguste Henri Victor Grandjean de Montigny. Tuscan architecture: The Renaissance masterpieces. Mineola, N.Y: Dover Publications, 2012.

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Mauduit, Caroline. An architect in Italy. New York: C.N. Potter, 1988.

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Mayernik, David. Timeless cities: An architect's reflections on Renaissance Italy. Boulder, Colo: Westview Press, 2005.

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Burckhardt, Jacob. The architecture of the Italian Renaissance. Chicago: University of Chicago Press, 1987.

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Lindow, James. The Renaissance palace in Florence: Magnificence and splendour in fifteenth-century Italy. Burlington, VT: Ashgate, 2007.

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Tafuri, Manfredo. Venice and the Renaissance. Cambridge, Mass: MIT Press, 1989.

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Letarouilly, Paul Marie. Letarouilly on Renaissance Rome. Mineola, New York: Dover Publications, 2012.

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Lasansky, D. Medina. The Renaissance perfected: Architecture, spectacle, and tourism in fascist Italy. University Park, Penn: Pennsylvania State University Press, 2004.

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Ree, Paul van der. Italian villas and gardens. Munich: Prestel Verlag, 1992.

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Book chapters on the topic "Architecture, Renaissance – Italy"

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Mattei, Francesca. "Architecture and Religion in Renaissance Palaces: Patronage, Humanism, and Reformation in Northern Italy." In Europa Sacra, 127–53. Turnhout: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.es-eb.5.121903.

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"9 Jerusalem in Renaissance Italy." In The Imagined and Real Jerusalem in Art and Architecture, 215–36. BRILL, 2014. http://dx.doi.org/10.1163/9789004270855_011.

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Stevens Crawshaw, Jane L. "Constructing Ideals and Practices in Renaissance Port Cities." In Cleaning Up Renaissance Italy, 26—C1F2. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198867432.003.0002.

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Abstract This chapter situates Genoa and Venice against the backdrop of literature on the designs of ideal ports during the Renaissance. Using Renaissance architectural theory, in particular, the work of Antonio Averlino [c.1400–1469], known as Filarete, and his plans for Plusiopolis, it considers the influence of ideals on the form of major ports of the Italian peninsula and the broader Mediterranean. The second section of this chapter assesses characterizations of port societies and the challenges posed to community health, as well as urban and natural environments, by their cosmopolitan and often-transient population. The chapter ends with a comparison between the port structures and society of Genoa and Venice, dilating on the ways in which these cities were shaped by influences from ideal architecture and the models of ports beyond their borders.
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Ames-Lewis, Francis. "Art and Architecture in Italy and Beyond." In The Oxford History of the Renaissance, 156–208. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886699.003.0005.

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Abstract This chapter explores the principle that underlies Giorgio Vasari’s Lives of the Artists, that the central purpose of Italian Renaissance artists and architects was to reappraise or adapt the forms and motifs of classical antiquity with a view to constructing a new classical artistic language with which to create buildings and works of art. The first two sections focus on ways in which architects and artists responded to and re-evaluated the heritage of classical antiquity, the reasons for re-workings of classical forms, and the meanings and messages that these revisions of classical exemplars might have carried. In the section on architecture, attention is paid in particular to the ways that Renaissance architects adapted classical Roman building types to suit new expectations, and redeployed classical architectural language, notably the Orders, and to explore what they might imply about the cultural ambitions of their patrons. In the second section, discussion focuses on how the sculpture of classical antiquity was studied and reinterpreted, especially in artists’ treatment of the human figure as a paradigm of artistic exploration. The expansion of secular art to complement the continuum of religious art production leads to the further exploration of human figures as actors in works with secular narrative subjects, especially those based in classical mythology and history. The notion of man as individual is seen to underlie the dramatic rise of portraiture in the Renaissance.
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Snyder, Jon R. "Mare magnum:the arts in the early modern age." In Early Modern Italy, 143–65. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198700418.003.0009.

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Abstract Italian art, architecture, literature, and music were never more influential abroad than during the years 1550-1796. The first truly international aesthetic, which is conventionally called the ‘baroque’, was born in Italy as Renaissance culture metamorphosed by the mid sixteenth century. This new aesthetic-especially in art, architecture, and music-spread quickly across a large swath of the planet, from Rome to St Petersburg, from Madrid to Lima, from Manila to Mexico City, from Goa to Salvador (Bahia).
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"Introduction." In The Architecture of Banking in Renaissance Italy, 1–19. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108673471.001.

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"Networked Agglomerations." In The Architecture of Banking in Renaissance Italy, 20–61. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108673471.002.

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"The Technology of Money, Architecture, and the Public Good." In The Architecture of Banking in Renaissance Italy, 62–90. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108673471.003.

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"Across Economic Geographies: Trade Sites beyond the Peninsula." In The Architecture of Banking in Renaissance Italy, 91–122. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108673471.004.

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"The Transcendental Economy." In The Architecture of Banking in Renaissance Italy, 123–57. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108673471.005.

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Conference papers on the topic "Architecture, Renaissance – Italy"

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Rinaldi, Simona. "L’architettura militare italiana della Cittadella di Ancona: tecniche costruttive e sistemi difensivi del XVI secolo." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11481.

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The Italian military architecture of Ancona’s Citadel: construction techniques and defensive systems in the sixteenth centuryThe objective of this research is regarding the construction techniques used in the military architecture of Cittadella-Fortezza (Ancona, Marche, Italy). In this case, attention will focus primarily on historical, bibliographic and archive research, then through a comprehensive analysis of building methods used in the sixteenth century and on the strategic function that this fortification covered in the coastal strip of the Middle Adriatic. Together with Rocca Paolina (Perugia) and Fortezza da Basso (Florence), it has in fact a remarkable importance in the military architecture’s history, as it was one of the first experiments of fronte bastionato all’italiana. Built from 1532 by Antonio da Sangallo il Giovane, it rises on the top of Astagno hill in a panoramic and defensive position, overlooking the city and the port. It clearly distinguishes itself from the surrounding building fabric as it is characterized by five mighty bastions in bricks and by the central bulwark with the vaulted ground floor. The study aims to investigate the structural details of Ancona’s fortress such as the modeling of walls, the suppression of protruding volumes, the extension and rounding of the corner towers and the introduction of the central type plan. A great understanding of this research will be analyzed in the drawings and the volumes’ reliefs, which highlighted the general geometric data, the materials used for the realization of the work, the angle of the curtain walls and the technical/constructive strategies. Therefore, the methodical-metric knowledge of the parts will be made more accessible also in relation to the three-dimensional modeling of the fortress, in addition to the critical comparison based on other historical examples of military architecture in the Renaissance period.
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