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84-430: After passing through several hands, the buildings were acquired, in 1754, by the war ministry, and were transformed, in 1780, into a prison. The Hôtel de la Force was renamed La Grande Force and was intended for debtors and those charged with civil offences. The prison consisted of several buildings, each of which had a separate yard. The most airy building was situated in the centre between two yards planted with trees. It

168-644: A cornice . There is a regular repetition of openings on each floor, and the centrally placed door is marked by a feature such as a balcony, or rusticated surround. An early and much copied prototype was the façade for the Palazzo Rucellai (1446 and 1451) in Florence with its three registers of pilasters . Roman and Greek orders of columns are used: Tuscan , Doric , Ionic , Corinthian and Composite . The orders can either be structural, supporting an arcade or architrave, or purely decorative, set against

252-510: A pediment and organised by a system of pilasters , arches and entablatures . The columns and windows show a progression towards the centre. One of the first true Renaissance façades was Pienza Cathedral (1459–62), which has been attributed to the Florentine architect Bernardo Gambarelli (known as Rossellino ) with Leone Battista Alberti perhaps having some responsibility in its design as well. Domestic buildings are often surmounted by

336-599: A "rustic" simplicity, the finish is highly artificial, and the faces of the stones often carefully worked to achieve an appearance of a coarse finish. Rustication was used in ancient times, but became especially popular in the revived classical styles of Italian Renaissance architecture and that of subsequent periods, particularly in the lower floors of secular buildings. It remains in use in some modern architecture. Similar finishes are very common in medieval architecture, especially in castles , walls and similar buildings, but here it merely arises from an unwillingness to spend

420-578: A blind arched arcade with emphatic voussoirs on the rusticated ground storey (in fact using stucco ) gave reassuring support to the upper storey's paired Doric columns standing on rusticated piers , set against a smooth wall. The first major Renaissance building in Spain, the Palace of Charles V in Granada (1527), had a deeply rusticated ground floor facade with regular rounded cushions. The technique

504-678: A broad zone of diamonds across the middle height of the facade, though like the towers in Milan these do not come to a point. The appearance of rustication, creating a rough, unfinished stone-like surface, can be worked on a wooden exterior. This process became popular in 18th century New England to translate the features of Palladian architecture to the house-carpenter's idiom: in Virginia Monticello and Mount Vernon both made use of this technique. Mount Vernon in particular makes extensive use of feigned rustication and sanded paint and

588-667: A development of styles of raised decoration of masonry that were popular in late Gothic architecture , especially the Iberian Manueline (or Portuguese late Gothic) and its equivalent in Spain, known as Isabelline Gothic . When not figurative these are known as bossage . These are probably a development of Mudéjar styles of patterning walls. In the spectacular late 15th-century gateway to the Palacio de Jabalquinto in Baeza , Andalucia , small widely spaced pyramids cover one of

672-407: A finish texture that contrasts with smooth, squared-block masonry called ashlar . The visible face of each individual block is cut back around the edges to make its size and placing very clear. In addition the central part of the face of each block may be given a deliberately rough or patterned surface. Rusticated masonry is usually "dressed", or squared off neatly, on all sides of the stones except

756-521: A question of practice, but also a matter for theoretical discussion. Printing played a large role in the dissemination of ideas. In the 15th century the courts of certain other Italian states became centres for spreading of Renaissance philosophy, art and architecture. In Mantua at the court of the Gonzaga , Alberti designed two churches, the Basilica of Sant'Andrea and San Sebastiano . Urbino

840-530: A section of entablature between the capital and the springing of the arch. Alberti was one of the first to use the arch on a monumental scale at the Basilica of Sant'Andrea, Mantua . Vaults do not have ribs. They are semi-circular or segmental and on a square plan, unlike the Gothic vault which is frequently rectangular. The barrel vault is returned to architectural vocabulary as at St. Andrea in Mantua. The dome

924-486: A striking effect, not often copied, by using extensive "blocking", both rounded and rectangular, on the shafts of its columns and pilasters. Canton Viaduct , a blind arcade cavity wall railroad viaduct built in 1834–35 in Canton, Massachusetts is an example of modest effects of rustication in industrial architecture; the effect is pleasing, and the cost was probably reduced. Massive effects of contrasting rustications typify

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1008-577: A triangular or segmental pediment. Openings that do not have doors are usually arched and frequently have a large or decorative keystone. Windows may be paired and set within a semi-circular arch. They may have square lintels and triangular or segmental pediments , which are often used alternately. Emblematic in this respect is the Palazzo Farnese in Rome, begun in 1517. In the Mannerist period

1092-484: A vertically oriented pattern evoking hanging pond-weed or algae , or icicles ("frost-work") is sometimes used. Also associated with gardens is "cyclopian" rustication, where the blocks are very large and irregular, as though placed by giants, and "rock-work", where surfaces are built up of rough rocks not placed in regular courses at all. This last goes beyond rustication, and is found in fountains and follies, and later rockeries for planting. In "prismatic rustication"

1176-547: A wall in the form of pilasters. During the Renaissance, architects aimed to use columns, pilasters , and entablatures as an integrated system. One of the first buildings to use pilasters as an integrated system was in the Old Sacristy (1421–1440) by Brunelleschi. Arches are semi-circular or (in the Mannerist style) segmental. Arches are often used in arcades, supported on piers or columns with capitals. There may be

1260-489: Is at play, and this may be the association of the technique with the display of power and strength, from its use in military architecture. Rough finishes on stone are also very common in architecture outside the European tradition, but these too would generally not be called rustication. For example, the bases of Japanese castles and other fortifications usually use rough stone, often very attractively. Although rustication

1344-492: Is in the public domain : Galignani, A. and Galignani, W. (1827). Galignani's New Paris Guide, or, Stranger's Companion Through the French Metropolis . Paris: A. and W. Galignani. p.  488 . {{ cite book }} : CS1 maint: multiple names: authors list ( link ) Rustication (architecture) Rustication is a range of masonry techniques used in classical architecture giving visible surfaces

1428-460: Is known from a few buildings of Greek and Roman antiquity, for example Rome's Porta Maggiore , the method first became popular during the Renaissance , when the stone work of lower floors and sometimes entire facades of buildings were finished in this manner. It was generally used for secular buildings, and has always remained uncommon in churches, perhaps through a lingering association with

1512-563: Is mostly seen with smooth-faced stones, and has remained popular in Stripped Classicism and other contemporary versions of classical styles. In this style, the bands are sometimes several feet apart, making it apparent that stone facings are being used. When the stone is left with a rough external surface, rough shapes may be drilled or chiselled in the somewhat smoothed face in a technique called "vermiculation" ("vermiculate rustication" or "vermicular rustication"), so called from

1596-424: Is sometimes referred to as the "rustic floor", in order to distinguish it from the piano nobile above. As well as uses emphasizing the horizontal, rustication is often used in relatively narrow vertical bands, on the quoins at corners or elsewhere. Rustication may also be confined to the surrounds of arches, doors or windows, especially at the top. In these and other situations where rustication stops horizontally,

1680-528: Is the Basilica of San Lorenzo, Florence by Filippo Brunelleschi (1377–1446). During the High Renaissance, concepts derived from classical antiquity were developed and used with greater confidence. The most representative architect is Donato Bramante (1444–1514), who expanded the applicability of classical architecture to contemporary buildings. His Tempietto di San Pietro in Montorio (1503)

1764-531: Is the European architecture of the period between the early 15th and early 16th centuries in different regions, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture. Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture and neoclassical architecture . Developed first in Florence , with Filippo Brunelleschi as one of its innovators,

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1848-884: Is used frequently, both as a very large structural feature that is visible from the exterior, and also as a means of roofing smaller spaces where they are only visible internally. After the success of the dome in Brunelleschi's design for Florence Cathedral and its use in Bramante's plan for St. Peter's Basilica (1506) in Rome, the dome became an indispensable element in church architecture and later even for secular architecture, such as Palladio's Villa Rotonda . Roofs are fitted with flat or coffered ceilings. They are not left open as in Medieval architecture. They are frequently painted or decorated. Doors usually have square lintels. They may be set with in an arch or surmounted by

1932-417: Is usually not the case in architectural history. The bleak economic conditions of the late 14th century did not produce buildings that are considered to be part of the Renaissance. As a result, the word Renaissance among architectural historians usually applies to the period 1400 to c.  1525 , or later in the case of non-Italian Renaissances. Historians often use the following designations: During

2016-598: The Castello Sforzesco in Milan almost use diamonds, but their points are smoothed over. The illustration at right, from Catania in Sicily, alternates rows of three square "diamond" blocks with two oblong blocks, where the faces rise to a ridge rather than a point, showing both the main forms of "prismatic rustication". The sharply pointed styles have really nothing to do with classical rustication, and are instead

2100-504: The Florence Baptistery and Pisa Cathedral . Italy had never fully adopted the Gothic style of architecture. Apart from Milan Cathedral , (influenced by French Rayonnant Gothic), few Italian churches show the emphasis on vertical, the clustered shafts, ornate tracery and complex ribbed vaulting that characterise Gothic in other parts of Europe. The presence, particularly in Rome, of ancient architectural remains showing

2184-736: The Loggia and Odeo Cornaro in the garden of Alvise Cornaro . In southern Italy, Renaissance masters were called to Naples by Alfonso V of Aragon after his conquest of the Kingdom of Naples . The most notable examples of Renaissance architecture in that city are the Cappella Caracciolo , attributed to Bramante, and the Palazzo Orsini di Gravina , built by Gabriele d'Angelo between 1513 and 1549. The Classical orders were analysed and reconstructed to serve new purposes. While

2268-614: The Palazzo Medici Riccardi (1444–1460) in Florence. Internal walls are smoothly plastered and surfaced with lime wash . For more formal spaces, internal surfaces are decorated with frescoes . Courses, mouldings and all decorative details are carved with great precision. Studying and mastering the details of the ancient Romans was one of the important aspects of Renaissance theory. The different orders each required different sets of details. Some architects were stricter in their use of classical details than others, but there

2352-621: The Palladian arch was employed, using a motif of a high semi-circular topped opening flanked with two lower square-topped openings. Windows are used to bring light into the building and in domestic architecture, to give views. Stained glass, although sometimes present, is not a feature. External walls are generally constructed of brick, rendered, or faced with stone in highly finished ashlar masonry, laid in straight courses. The corners of buildings are often emphasized by rusticated quoins . Basements and ground floors were often rusticated , as at

2436-625: The Princesse de Lamballe was taken. La Force came under attack by violent mobs on 3 September 1792, and the four following days: one hundred and sixty prisoners, among whom were three priests and the Princesse de Lamballe, were massacred there. The Grande Force had housed only male prisoners and the Petite Force had been used exclusively for women, however, in 1830 the two prisons were united, and placed under one management. The whole prison

2520-697: The Quattrocento, sometimes known as the Early Renaissance, concepts of architectural order were explored and rules were formulated. The study of classical antiquity led in particular to the adoption of Classical detail and ornamentation. Space, as an element of architecture, was used differently than it was in the Middle Ages . Space was organised by proportional logic, its form and rhythm subject to geometry, rather than being created by intuition as in Medieval buildings. The prime example of this

2604-508: The Sforza , the Castello Sforzesco was built. Venetian Renaissance architecture developed a particularly distinctive character because of local conditions. San Zaccaria received its Renaissance façade at the hands of Antonio Gambello and Mauro Codussi , begun in the 1480s. Giovanni Maria Falconetto , the Veronese architect-sculptor, introduced Renaissance architecture to Padua with

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2688-532: The " Richardsonian Romanesque " style exemplified in the 1870s and 80s by the American architect H. H. Richardson . The technique is still sometimes used in architecture of a broadly Modernist character, especially in city centre streets where it helps modern buildings blend with older ones with rustication. Although essentially a technique for stone masonry, rustication can be imitated in brick and stucco, which began as early as Bramante 's Palazzo Caprini and

2772-464: The 15th century. Conversely, there was no call for enormous sporting fixtures and public bath houses such as the Romans had built. The plans of Renaissance buildings have a square, symmetrical appearance in which proportions are usually based on a module. Within a church, the module is often the width of an aisle. The need to integrate the design of the plan with the façade was introduced as an issue in

2856-564: The 18th century, following the Palladian revival, rustication was widely used on the ground floors of large buildings, as its contrived appearance of simplicity and solidity contrasted well to the carved ornamental stonework and columns of the floors above: "Rustication became almost obligatory in all 18th- and 19th-century public buildings in Europe and the USA". A ground floor with rustication, especially in an English mansion such as Kedleston Hall ,

2940-596: The Latin vermiculus meaning "little worm", because the shapes resemble worms, worm-casts or worm tracks in mud or wet sand. Carved vermiculation requires a good deal of careful mason's work, and is mostly used over limited areas to highlight them. Disparities between individual blocks are often seen, presumably as different carvers interpreted their patterns slightly differently, or had different levels of skill. The small Turner Mausoleum at Kirkleatham by James Gibbs (1740) has an unusually large area vermiculated, over half of

3024-477: The Mannerist style was Michelangelo (1475–1564), who frequently used the giant order in his architecture, a large pilaster that stretches from the bottom to the top of a façade. He used this in his design for the Piazza del Campidoglio in Rome. Prior to the 20th century, the term Mannerism had negative connotations, but it is now used to describe the historical period in more general non-judgemental terms. As

3108-680: The Palazzo Medici Riccardi model is followed; the ground floor has heavy rustication with textured faces, while above there is smooth-faced "V" rustication. Though such horizontal zones of rustication are the most common, vertical zones can often be used as highlights, as in the illustration from Catania above, or the Cour Napoleon in the Louvre Palace . The Baroque garden front of the Palazzo Pitti achieves

3192-483: The Renaissance style quickly spread to other Italian cities. The style was carried to other parts of Europe at different dates and with varying degrees of impact. Renaissance style places emphasis on symmetry , proportion , geometry and the regularity of parts, as demonstrated in the architecture of classical antiquity and in particular ancient Roman architecture , of which many examples remained. Orderly arrangements of columns , pilasters and lintels , as well as

3276-403: The Renaissance view of architecture is Filippo Brunelleschi, (1377–1446). The underlying feature of the work of Brunelleschi was "order". In the early 15th century, Brunelleschi began to look at the world to see what the rules were that governed one's way of seeing. He observed that the way one sees regular structures such as the Florence Baptistery and the tiled pavement surrounding it follows

3360-483: The architecture of military power; there are exceptions, such as St Giles in the Fields , London (1730–34). Probably the earliest and most influential example is the Palazzo Medici Riccardi in Florence , built between 1444 and 1484, with two contrasting rusticated finishes. The ground floor has an irregular and genuinely rugged appearance, with a variation in the degree to which parts of the faces of blocks project from

3444-498: The blocks are dressed at an angle near each edge, giving a prism -like shape. Where the faces rise to a single point, this is often known by terms using "diamond", and is covered below. They may also, usually in blocks that are oblong rather than square, rise to a ridge in the centre. Both types are illustrated, with several others, by Serlio. Various types of other patterns in masonry surfaces are sometimes called rustication. These include "diamond point" or "diamond rustication" where

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3528-403: The blocks in relation to columns in the same facade, and the proportion of the block that a widened joint should occupy, though their prescriptions differ, and were not always followed by architects. Typically, rustication after 1700 is highly regular, with the front faces of blocks flat even when worked in patterns, as opposed to the real unevenness often seen in the 16th-century examples. Often

3612-617: The building are clearly Florentine in style, particularly the inner courtyard, but it is not known who the designer was. Ferrara , under the Este , was expanded in the late 15th century, with several new palaces being built such as the Palazzo dei Diamanti and Palazzo Schifanoia for Borso d'Este . In Milan , under the Visconti , the Certosa di Pavia was completed, and then later under

3696-512: The church, but by guilds representing the wealth and power of the city. Brunelleschi's dome at Florence Cathedral, more than any other building, belonged to the populace because the construction of each of the eight segments was achieved by a different quarter of the city. As in the Platonic Academy of Athens , it was seen by those of Humanist understanding that those people who had the benefit of wealth and education ought to promote

3780-455: The early Renaissance, Venice controlled sea trade over goods from the East. The large towns of Northern Italy were prosperous through trade with the rest of Europe, Genoa providing a seaport for the goods of France and Spain; Milan and Turin being centres of overland trade, and maintaining substantial metalworking industries. Trade brought wool from England to Florence, ideally located on

3864-404: The edge is usually made up of vertically alternating long and short blocks. Rustication therefore often reverses the patterns of medieval and later vernacular architecture , where roughly dressed wall surfaces often contrast with ashlar quoins and frames to openings. Architectural books by authors such as James Gibbs and William Chambers set out detailed recommendations for the proportions of

3948-506: The elements. The Italians brought in to expand the Palace of Fontainebleau introduced the technique to France. Its spread to Germany and England took longer, but by about the end of the 16th century it had reached all parts of Europe. In his Banqueting House in London (1619), Inigo Jones gave a lightly rusticated surface texture to emphasize the blocks on both storeys, and to unify them behind his orders of pilasters and columns. During

4032-770: The enormous Florence Cathedral dedicated to the Blessed Virgin Mary did no honour to the city under her patronage. However, as the technology and finance were found to complete it, the rising dome did credit not only to the Virgin Mary, its architect and the Church but also to the Signoria , the Guilds and the sectors of the city from which the manpower to construct it was drawn. The dome inspired further religious works in Florence. The development of printed books,

4116-546: The entrance was formed by an elliptical arch. It was three stories high and was surmounted by a Doric cornice. In its construction, neither wood nor plaster were employed, the whole being built of stone bound together by iron bars. It was located adjacent to the Hôtel de Lamoignon . During the French Revolution , this prison was used for political prisoners, and it was here that the close friend of Marie Antoinette ,

4200-526: The extra money required for ashlar masonry in a particular building, and lacks the deliberate emphasis on the joints between blocks. Though it often achieves a decorative effect, this is something of a by-product, and the exploitation for architectural effect within a single building of contrasts between rusticated and ashlar surfaces is rarely seen. In some buildings, such as the Palazzo Vecchio in Florence (begun 1298) something other than cost-saving

4284-764: The face of each stone is a low pyramid facing out. This covered the whole facade of the Palazzo dei Diamanti in Ferrara , completed in 1503, and most of that of the Palace of Facets in the Moscow Kremlin , designed by Italians and completed in 1492, with rectangular "diamonds". These "diamond palaces" influenced other whole walls of diamonds at Casa dos Bicos in Portugal (after 1523, alternate stones only), and Crichton Castle in Scotland (c. 1585; all stones, with flat edges between pyramids). The round towers at

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4368-471: The face that will be visible when the stone is put in place. This is given wide joints that emphasize the edges of each block, by angling the edges ("channel-jointed"), or dropping them back a little. The main part of the exposed face may be worked flat and smooth or left with, or worked, to give a more or less rough or patterned surface. Rustication is often used to give visual weight to the ground floor in contrast to smooth ashlar above. Though intended to convey

4452-483: The horizontal joints, with the appearance of the vertical joints being minimised, the resulting effect is known as "banded rustication", mostly seen on the lowest levels of very large buildings like the Palace of Versailles or the main Foreign Office building in London. As at Versailles, the bands may be "elbowed", dipping diagonally around arches to join up with and emphasize the voussoirs . Banded rustication

4536-460: The main level. When the shapes join up to form a network, the style is called "reticulated". Often, especially from the Baroque onwards, the roughly flattened central areas of stones are indented in regular, but not too regular, patterns called "pecked" or "picked-work", and various other ways of patterning them may be found. In garden architecture, where water was to flow over or near the surface,

4620-410: The main relief from the massive flat walls. The Palazzo Rucellai , probably of the 1460s, begins to classicize such facades, using smooth-faced rustication throughout, except for the pilasters at each level. In Rome, Donato Bramante 's Palazzo Caprini ("House of Raphael", by 1510, now destroyed) provided a standard model for the integration of rustication with the orders. Here the obvious strength of

4704-630: The many zones with fancy carved elements, projecting from a wall otherwise in ashlar. Later, in Baroque architecture , relatively small areas of diamond rustication were reintegrated into architecture in the classical tradition, and were popular as highlights, especially in Sicily and southern Italy and Eastern and Central Europe . The large Černín Palace in Prague (1660s) repeats the Kremlin formula of

4788-505: The mid 15th century and gained momentum in the 16th century, reaching its peak in the Baroque period. The construction of the Sistine Chapel with its uniquely important decorations and the entire rebuilding of St. Peter's Basilica , one of Christendom's most significant churches, were part of this process. In the wealthy Republic of Florence , the impetus for church-building was more civic than spiritual. The unfinished state of

4872-509: The new style of architecture spread out from Italy, most other European countries developed a sort of Proto-Renaissance style, before the construction of fully formulated Renaissance buildings. Each country in turn then grafted its own architectural traditions to the new style, so that Renaissance buildings across Europe are diversified by region. Within Italy the evolution of Renaissance architecture into Mannerism, with widely diverging tendencies in

4956-413: The obvious distinguishing features of Classical Roman architecture were adopted by Renaissance architects, the forms and purposes of buildings had changed over time, as had the structure of cities. Among the earliest buildings of the reborn Classicism were the type of churches that the Romans had never constructed. Neither were there models for the type of large city dwellings required by wealthy merchants of

5040-457: The ordered Classical style provided an inspiration to artists at a time when philosophy was also turning towards the Classical. In the 15th century, Florence and Venice extended their power through much of the area that surrounded them, making the movement of artists possible. This enabled Florence to have significant artistic influence in Milan , and through Milan, France . In 1377,

5124-402: The original finished surfaces of several original planks still survive. Rustication of a wooden exterior consists of three basic steps. First, the wood is cut, sanded and prepared with beveled grooves that make each plank appear as if it were a series of stone blocks. Second, the wood is painted with a thick coat of paint. Third, while the paint is still wet, sand is thrown or air blasted onto

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5208-547: The planks until no more sand will stick. After the paint dries the plank is ready for use. In Central Europe , especially the Czech Republic , feigned rustication in sgraffito (decoration by scraping away one colour of coating on an exterior to show another beneath) is a feature from the late Renaissance onwards, continuing into the 20th century. Often "prismatic" or "diamond" rustication is imitated. Italian Renaissance architecture Renaissance architecture

5292-641: The promotion of civil peace and order were seen as the marks of citizenship. This led to the building of structures such as Brunelleschi's Hospital of the Innocents with its elegant colonnade forming a link between the charitable building and the public square, and the Laurentian Library where the collection of books established by the Medici family could be consulted by scholars. Some major ecclesiastical building works were also commissioned, not by

5376-626: The pursuit of learning and the creation of that which was beautiful. To this end, wealthy families—the Medici of Florence, the Gonzaga of Mantua, the Farnese in Rome, the Sforzas in Milan—gathered around them people of learning and ability, promoting the skills and creating employment for the most talented artists and architects of their day. During the Renaissance, architecture became not only

5460-590: The rediscovery of ancient writings, the expanding of political and trade contacts and the exploration of the world all increased knowledge and the desire for education. The reading of philosophies that were not based on Christian theology led to the development of humanism through which it was clear that while God had established and maintained order in the Universe, it was the role of Man to establish and maintain order in Society. Through humanism, civic pride and

5544-416: The rest, and larger blocks placed higher than smaller ones. The Mannerist architectural writer Sebastiano Serlio and others of his generation enjoyed the play between rusticated and finished architectural elements. In the woodcut of a doorway from Serlio's 1537 treatise, the banded rustication of the wall is carried right across the attached column and the moldings of the doorway surround, binding together all

5628-673: The return of the Pope from the Avignon Papacy and the re-establishment of the Papal court in Rome, brought wealth and importance to that city, as well as a renewal in the importance of the Pope in Italy, which was further strengthened by the Council of Constance in 1417. Successive Popes, especially Julius II , 1503–13, sought to extend the Papacy's temporal power throughout Italy. In

5712-482: The revival of interest in this period. Erwin Panofsky , Renaissance and Renascences in Western Art , (New York: Harper and Row, 1960) The Renaissance style was recognized by contemporaries in the term "all'antica" , or "in the ancient manner" (of the Romans). Historians often divide the Renaissance in Italy into three phases. Whereas art historians might talk of an Early Renaissance period, in which they include developments in 14th-century painting and sculpture, this

5796-480: The river for the production of fine cloth, the industry on which its wealth was founded. By dominating Pisa , Florence gained a seaport, and became the most powerful state in Tuscany. In this commercial climate, one family in particular turned their attention from trade to the lucrative business of money-lending. The Medici became the chief bankers to the princes of Europe, becoming virtually princes themselves as they did so, by reason of both wealth and influence. Along

5880-432: The trade routes, and thus offered some protection by commercial interest, moved not only goods but also artists, scientists and philosophers. The return of the Pope Gregory XI from Avignon in September 1377 and the resultant new emphasis on Rome as the center of Christian spirituality, brought about a surge in the building of churches in Rome such as had not taken place for nearly a thousand years. This commenced in

5964-399: The use of semicircular arches, hemispherical domes , niches and aediculae replaced the more complex proportional systems and irregular profiles of medieval buildings. The word "Renaissance" derives from the term rinascita , which means rebirth, first appeared in Giorgio Vasari 's Lives of the Most Excellent Painters, Sculptors, and Architects , 1550. Although the term Renaissance

6048-505: The wall that is rarely equalled later. Above, the rustication is merely to emphasize the individual blocks, and the faces are all smooth and even. Also in Florence, Palazzo Strozzi , begun 1489, with large oblong rounded cushions, and the front of the Palazzo Pitti , begun 1458, rusticated their whole facades in the same style. These facades only used the classical orders in mullions and aedicules , with arched forms in rustication

6132-444: The work of Filippo Brunelleschi , but he was never able to carry this aspect of his work into fruition. The first building to demonstrate this was Basilica of Sant'Andrea, Mantua by Leone Battista Alberti . The development of the plan in secular architecture was to take place in the 16th century and culminated with the work of Palladio . Façades are symmetrical around their vertical axis. Church façades are generally surmounted by

6216-480: The work of Michelangelo , Giulio Romano and Andrea Palladio , led to the Baroque style in which the same architectural vocabulary was used for very different rhetoric. Outside Italy, Baroque architecture was more widespread and fully developed than the Renaissance style, with significant buildings as far afield as Mexico and the Philippines . Italy of the 15th century, and the city of Florence in particular,

6300-485: Was a department for the sick, a bathing-room, a parlor, and an advocate's room, where the prisoners could hold conversations with their legal defenders. The two prisons of La Force were demolished in 1845, and the only remaining part is a section of wall adjoining the City of Paris Historical Library . Detainees included: Fictional detainees included: [REDACTED] This article incorporates text from this source, which

6384-497: Was also a good deal of innovation in solving problems, especially at corners. Mouldings stand out around doors and windows rather than being recessed, as in Gothic architecture. Sculptured figures may be set in niches or placed on plinths. They are not integral to the building as in Medieval architecture. The leading architects of the Early Renaissance or Quattrocento were Filippo Brunelleschi , Michelozzo and Leon Battista Alberti . The person generally credited with bringing about

6468-467: Was an important centre with the Ducal Palace being constructed for Federico da Montefeltro in the mid 15th century. The Duke employed Luciano Laurana from Dalmatia , renowned for his expertise at fortification. The design incorporates much of the earlier medieval building and includes an unusual turreted three-storeyed façade. Laurana was assisted by Francesco di Giorgio Martini. Later parts of

6552-553: Was common in smaller houses in Georgian architecture , and also in wood (see below), which is mainly found in British America . The most common variation of rustication is the smooth-faced, where the external face of the block is smooth, as in ashlar, and differs from that only by the cutting in at the joints; this became increasingly popular, and is now the most commonly seen type. If deeply cut-back edges are worked only to

6636-504: Was directly inspired by circular Roman temples . He was, however, hardly a slave to the classical forms and it was his style that was to dominate Italian architecture in the 16th century. During the Mannerist period, architects experimented with using architectural forms to emphasize solid and spatial relationships. The Renaissance ideal of harmony gave way to freer and more imaginative rhythms. The best known architect associated with

6720-510: Was enthusiastically taken up by the next generation of Mannerist architects, with Giulio Romano in the lead. Most early examples of this "rustic" style are therefore built for sophisticated patrons in the leading centres of taste. Giulio's Palazzo Maccarani Stati in Rome and Palazzo Te in Mantua expand the voussoirs still further, and the courtyard in Mantua plays games with the technique, with some blocks ashlar, other projecting further than

6804-658: Was home to the Renaissance. It is in Florence that the new architectural style had its beginning, not slowly evolving in the way that Gothic grew out of Romanesque , but consciously brought to being by particular architects who sought to revive the order of a past " Golden Age ". The scholarly approach to the architecture of the ancient coincided with the general revival of learning. A number of factors were influential in bringing this about. Italian architects had always preferred forms that were clearly defined and structural members that expressed their purpose. Many Tuscan Romanesque buildings demonstrate these characteristics, as seen in

6888-489: Was then converted to house males committed for trial. These prisoners were divided into two separate groups: the old offenders into one ward, the young and comparatively innocent into another. The prisoners slept in large and well ventilated chambers, and the boys each had a small apartment which contained a single bed. The prisoners had the privilege of working if they wished, but they were not obliged to do so, inasmuch as they were on remand and not yet convicted of crime. There

6972-453: Was there that such prisoners were detained who could incur some expense. On the left was the infirmary. At the same time as the Hôtel de la Force was being converted into a prison, the Hôtel de Brienne was demolished, and a new prison for prostitutes was erected on its site, which was called La Petite Force. The front presented a somber aspect. It was ornamented with vermiculated rustics and

7056-720: Was used first by the French historian Jules Michelet , it was given its more lasting definition from the Swiss historian Jacob Burckhardt , whose book The Civilization of the Renaissance in Italy , 1860, was influential in the development of the modern interpretation of the Italian Renaissance . The folio of measured drawings Édifices de Rome moderne; ou, Recueil des palais, maisons, églises, couvents et autres monuments (The Buildings of Modern Rome), first published in 1840 by Paul Letarouilly, also played an important part in

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