The Pazzi Chapel (Florence) - History of Art

1. STYLE AND FORMAL QUALITIES

1. STYLE AND FORMAL QUALITIES

Function

A chapel located in the Basilica of Santa Croce

Twelve ribbed dome on pendentives

covers the central square

Oculi

central oculi placed in the centre of the dome (at the top), 12 oculi placed around the edge

Cupola

crowns the dome

Corinthian columns and pilasters (main facade)

Corinthian columns of the loggia are repeated in the pilasters directly above (highest order according to Vasari)

Central arched entranceway

featuring a rounded Roman arch

12 terracotta roundels (by Della Robia)

Depict the apostles. Another medallion crowns the pedimented door

Garland of fruit

surrounds the Pazzi arms

Influence of the Renaissance style

Symmetry, regular proportion, emphasis on geometry

2. ICONOGRAPHY AND MEANING

2. ICONOGRAPHY AND MEANING

Repetition of 12

• seen in the oculi, corinthian columns and pilasters

• reference to the 12 Apostles, reinforced by Della Robias terracotta roundels depicting the Apostles

Chapter house

• A meeting room for the monks of Santa Croce

Brunelleschi’s style

• adpated the principle of classical architecture to reflect Florentine humanist ideals and civic pride

• used pietra serena

Influence of Roman architecture (Pantheon)

• centrally planned space

• perfect geometry

• reminiscent of the Roman temple, the Pantheon

• revival of the standards and ideals of the architecture of ancient Rome

Influence of Pythagoras

• each section is in exact proportion to the other elements around it

• equal and divisible ratios 1:2, 1:3, 1:4

• demonstrates Brunelleschi’s interest in the Greek philosopher

3. HISTORICAL CONTEXT AND FUNCTION

3. HISTORICAL CONTEXT AND FUNCTION

Medici and Pazzi rivalry

• quattrocento Florence was a republic ruled by a council of leading families

• Medici/Pazzi feud was a result of the two families attempting to assert their authority

• Pazzi’s ulterior motive in building chapel was to make their mark on Florence and outdo the Medici

Neo Platonism and Humanism

• Florentine humanists thought that geometric principles could unlock the mysteries of the universe/intentions of God

• seen in Brunelleschi’s emphasis on proportion, balance and symmetry

Influence of Alberti/Vitruvius

• Vitruvius’s De Architectura (classical guide for building projects) was rediscovered in 1414

• Renaissance architect Alberti revived these classical principles of architecture in his treatise De Architectura (1450)

4. ARTISTIC PRODUCTION AND PATRONAGE

4. ARTISTIC PRODUCTION AND PATRONAGE

Andrea de’Pazzi (Patron)

• member of Pazzi banking family

• chapel behind the altar where the family could bury its dead

• ulterior motive - make mark on Florence

Brunelleschi (artist)

• leading Florentine architect and sculptor - rediscovered linear perspective in 1415

• Brunelleschi had also completed Old Sacristry for the Medici

• by commisioning Brunelleschi (prestigious architect), Pazzi were making political statement and showing their own power

  • trying to outdo the Medici with the Pazzi chapel

Italian Rennaisance patronage

• commissioning of works of art and architecture in Florence by leading families (Medici/Pazzi) can be seen as extension/expression of their struggle for political primacy and prestige

5. TECHNIQUES AND MATERIALS

5. TECHNIQUES AND MATERIALS

Pietra Serena (stone)

• grey/green stone

• favoured by Brunelleschi

• articulates the features

• contrasts with the white stucco

White Stucco

• provides cool contrast to the pietra serena and emphasises Brunelleschi’s geometric design

Terracotta

• used for the terracotta roundels

• glazed

6. CULTURAL IDENTITY

6. CULTURAL IDENTITY

Florentine Renaissance architecture

• seen in the orderly arrangements of columns, pilasters, lintels, semicircular arches and hemispherical, domes

• restrained classicism reflects Florence’s republican ideals

  • distinct from the grandiose style of Renaissance Roman/ornate Venetian architecture