arha quiz 2

Church of Saint Foi Conques, 1050-1120

• holds reliquary sculpture of saint foi

• major site along pilgrimage routes as defined in calistine codex

• reconstruction of earlier carolingian church; community founded by charlemagne

  • significance from connection to carolingian past

• side aisles flanking nave on north and south, transept markign juncture between nave and choir

• ambulatory extending from eastern choir; little chapels on east side

  • accomodating for multiple ceremonies to happen at once—good for pilgrimage

• vetically accentuated

• windows at east end around altar

• no direct clerestory into the nave

• octagonal tower added during 14th century to higlight the crossing; square set of four arches, octagonal tower (transition throuhg squinches); sort of like the architectural crown of the church

• stone vaulted (rounded arches)

• quarter circular arches above bays of gallery help resist lateral pressure

• continuity of wall surface

• stone canopy projecting out, sculptures contained within (tympanum sculpture)

  • centers on christ, shows moment of last judgement, text on tympanum further explains last judgement

Cluny III, 1088-1130, at monastery of cluny, abbot gunzo of baume architect

• largest monastic church ever built

  • mostly destroyed during french revolution

• cluniac order (worship and chants throughout teh day)

  • scale justified as the church for the whole cluniac order

• cluny II previously onsite

  • cluny III as a vast expansion, yet still encorporating what was retained from cluny II

• very distinctive shape

  • large narthex

  • incredibly long nave

• clerestory windows allowed light directly into nave

• fresco at end of space showing christ gratnthign authority to saint peter

  • creating association with papcy

• east end

  • choir

  • freestanding corinthian esque columns supporting the arcade of the choir

• ambulatory

  • set of tombs which are for successive abbots of cluny

  • mostly corinthian order, some with musicians to commemorate cluniac chants

• vaulted space

  • transverse arches making up entire nave

  • arches slighly pointed within to set up different stress pattern

• increase in thickness of wall at nave elevation resists lateral pressure

• approximating scale of roman vaulted imperail architecture like basilica of constantine (romanesque style)

fontenay abbey and church, burgundy, 1139-47

• dedicated to virgin mary

• citercian order

• not for pilgriamge

• churhc free of tombs, burial happens oustide

• gradations of enclosure at the abbey

  • core cloister as a closed/seculded space—prison yet heaven?

• ratio of 2:1 employed throughout the building

• transverse pointed arches

• light comes entirely from east end of church

• grisaille glass for windows

  • no decorative program at all throughout the church, glass is colorless, light creates all the meaning

• stone makes up the architecture (floor, columns, piers, vaulting all the same)

• vaulted space like at cluny III but representing a different monastic identiy

• nave with side aisles and trancept, small choir

• denial as a means of self representation institutionally

• washing pavilion smallest vaulted medieval buildings—washing as a metaphor for rebirth

abbey of saint-denis, rebuilt by abbot suger in 1100s

• denis was adopted patron saint of france during Louis VI’s leadership

• holding st. denis’s tomb

• monestary being brought to peak of power with abbot suger

• building upon existing carolingian chapel from 700s

• east end of plan

  • choir around high altar hwich is above the crypt where st denis is buried

• chapel bay radiating around altar incredibly important to space

  • light entering from each bay

• radiating hcapels not treated as individual units, instead, becoming fused with ambulatory as a continuosu space

  • formulated sort of as a second ambulatory

• luminous envelope of stained glass, light being associated with knowledge and transcendence

• rose window above central portal

• westwork rebuilt under denis

  • division into three sections to represent the holy trinity

• first major example of early gothic architecture

  • later french churches looking to st. denis as an example

  • sculptural carvings first example on church buildings

cathedral of notre dame in paris, current form from around 1163-1260, but has undergone so much rebuilding and also renovation (and rebuilding after fires most recently in 2019)

• monument to virgin mary ????

• serving as grand church for paris

  • rebuilding of saint denis challenging paris to some extent, notre dame rebuilt as response

• choir terminates in apse-ambulatory layout

  • long choir

• main vessel elevation at first divided into four stories

  • lower arcade, tribune gallery, oculi, clerestory windows under vault

  • tribune gallery roofed externally, steep pitched roof built against main vessel’s walls

  • oculi pierced to fill space where pitch meets wall

• east end completed 1182

• west front done later

  • distillation of two tower formula, creating three parts to represent holy trinity

  • three entrance portals

• statue of virgin and child and rose window above galerie des rois

  • rose window almsot like a halo for this statue

• modification later whihc removed the aisle roofs and lowered clerestory windows into the space

  • making up for the seemingly lackluster interiror

• huge 6 part stone vaults

  • no alternating responds, creating more rhythmic and uniform language

• vessel articulated throuhg responds coming from corinthian columsn which go all the way to the vault without interuption

• walls relatively thin

  • used limestone en delit to create thinner mateiral (using vertical strata)

• reinforced stone tehcniques also employed later (iron clamps and tie rods holding slender masonry structures together that otherwise couldnt)

• linear process of building from east to west

• west facade done independelty

La Sainte Chapelle, palace chapel s. lous/lous IX, paris, 1241-8

• holds relics of the passion/crucifixion, including fragment of cross and crown of thorns

• palace chapel for the king, within the walls of the palais de la cite

  • still integrated into urban rituals in paris, processions would involve the church

• lower part parish church, upper/main chapel for king and court

  • meant to resemble a jeweled encrusted reliquary box

• old stained glass windows all around the space

  • passion depicted on apse window to reference the relics held within

• iron used to create a system of reinforced stone, blcoks of stoned clamped together with iron hooks

• symbol of french royal authority

• acting sort of as a life size reliquary

• linking between king and christ in its program

• exteriror flying buttresses replaced multiple times

• sculptural program

  • jamb figures

  • all reconstructed after being destroyed in french revolution

  • central door had stone post which had been removed, then re added during restoration. it has christ on it

• south trancept restored in 19th century

• spire rstored in 19th century, then again after fire in 2019

• notre dame as a composite building, built over long period of time

  • point of reference for other works

Chartres cathedral, reconstruction timeline confusing but starting around 1194

• contains a relic of what was thought to be a tunic that mary wore at the annuciation

  • focus of pilgrimage, center of adoration of the virgin, large pan european significance

  • virgin mary as guardian of cathedral

• wide audience, any donors

• need to serve a large influx of pilgrims especially at four major marion festivals

• civic monument, urban context

  • bishops led processions in and out of the city using cathedral as start/end point

  • fields to the east

• not far from paris

  • ref notre dame in paris

• 5th building on site, immediatley following a romanesque cathedral from 1030 which mostly burned down

• composite west front showing succession of architects (tower from 1100s vs 1600s on the same front)

• orientation and spacing based on foundations from the romanesque cathedral which are reused

• floor slopes upwards towards central nave

• west front wiht three major doors

  • jamb figures as foundational and pillar-like figures to christianity. elevated from ground to show they are still above the visitor spiritaully

  • scnes of virgin and chirst above figures

• north trancept

  • begun about 1220 because of reliquary with skull of saint anne

• church as heavenly jerusalum throuhg treatment of light

  • east end represents virign carrying christ, recieves first light of day, west end recieves last light of day and shows the crucifixion/last judgement

• limestone from about 5 miles away

• piers not broken by a capital, extending all the way from floor throuhg to vault

• 4 part stone vault (heavier but less lateral thrust)

• speaking to clergy and illiterate throuhg sculpture and stained glass

• sculpture at doors prepatory for interpreting the architecture

• gothic style conveying french monarchs claims to be the most or best christians

palazzo pubblico, with torre del mangia, 1297-1349, siena

• town hall, thinking about architecture for a republic

  • nine governing council in siena

• south facing piazza del campo, north facing a drop off in elevation

  • system of piers and arches below to accomodate for the slope and to have all major rooms on the same level

• uniformity of facades in piazza del campo, reach of power of nine extended over built environment

• proximity to via francigena (connects siena to rome)

• volumetric massing to make it fortified

  • central volume is treasurary, one side houses chief fo police, other side houses quarters of the nine

• torre del mangia

  • crowning bell represents control of time and space; communal bell rings out for the entire city to expereince together

• advisory councils room with important frescos

• castle-like, crown referencing a defensed building

• architecture speaks to public and empowered visitors, all painitng a picture of what the government and resulting civic life is like

allegory of good government; effects of good government in the city and in the country, in sala dei nove (room of the nine), ambrogio lorenzetti, 1338

• projecting the idea of waht a republic may be onto a visitor of the nine

  • demonstrating the nine’s good governance

• allegory of good governemnt seems to reference the last judgement

  • lawful citizens at the right hand of the central figure, prisoners shown at the left hand of the central figure

• showing safe streets, economic proosperity, trade happening in and out of city gates, siena as city on top of hill

  • guaranteed safety at least 30 miles out from commune of siena

• upbuilding of city depicted

• demonstrating ideal government order as if legitimizing and educating/reeducating on what this looks like to the public

church of or san michele, florence, originally an open loggia, rebuilt 1337 ish

• guild church to which each guild contributed an image of its patron saint to mark participation at the site

  • niches assigned to guilds from 1339

• on main north/south street whihc links the cathedral to the palazzo vecchio

• built around miracle-workign image of madonna and child

  • painting by bernardo daddi

  • surrounded by a marble tabernacle

• upper stories added after city survived a plague

• urban fabric of florence changing dramatically in this period

four crowned saints, 1409-1416, nanni di banco

• depicting 4 christian artisans who refused to produce a pagan image of deity and thus were beheaded

  • figures present possible responses to adversity

• marble figures

• commissioned by stone cutter and wood carvers guilds

• on or san michele church

• figures in semicircular arragnement, new compositional type

  • creating spatial depth in sculptural site, architectural space defiend by four figures and seemingly continuous from observers space

• panel below depicting the activities of the guilds (carving, building, etc)

  • nonverbal clarification of patrionage

• heads based on etruscan models

• christian tale becomes metaphor for responsible citizenship

  • celebrating a willingness to face death in response to questioning faith, thus validating responsibility to civic/religious duties

old sacristy, at church of san lorenzo in florence, 1421-28, architect filippo brunelleschi, donatello primary sculptor

• patron giovanni di bicci de medici

• creating a burial space for the medici family

• bronze doors associated with ancient roman monumentality

• grey limestone (pietra serena) used for pilasters

• dome appears to float more freely because of thin margin of white stucco between arches of space and ring of dome

• classicizing vocabulary

  • semispherical dome above walls, rounded arches, rondels in pendentives

  • clasiscal orders upholding arches on pilasters

• temple front alluded to above the bronze doors

  • columsn and pediment above

• tomb of christ in jerusalum

  • both have a lantern atop the oculus in dome’s crown, here the spiraling decoration is mimicked

  • thus, the spake evokes resurrection and thus prlongs the power and reslience of the medici family

• images gospel writers on cross axes

  • st john the evangelist

• figures dedicated to sons of giovanni above small doors

• all working towards resurrection and longevity of medicis

medici palace, florence, 1446-60, Michelozzo di Bartolomeo

• comissioned by cosimo de medici after he was exiled and returns to florence

  • he is coming back to reestablish his power/medici power and architectural project becomes completely tied to that

• on via larga

  • main street, close to cathedral and also leads to piazza della signoria

  • palazzo vecchio at south, medici palace at north

• double lancet/bifolate windows

• central courtyard within which has classicizing archtectural language

  • corinthian columns uphold orunded arches, rondels sit in entablature

  • privileged access to classical order s

• specific stone treatment

  • rusticated at bottom to reference palazzo vecchio while at top its more smooth

• contains palace chapel

medici chapel, 1459, benozzo gozzoli

• architecture of space comissioned by cosimo, frescos largely comissioned by piero de medici

• contains a relic within

  • gold and ivory carved, relic of christ’s passion

• familial worship room yet also used to host empowered visitors

• only one of three chapels wihtin a palace in florence

• altar at front of chapel, surrounding walls have frescoes describing the journey of the three magi

  • room descrbiing kingship in biblical terms

• coffered gilded ceiling

• marble floor

• variant of classiciing language from private house

• fresco of youngest king presenting medici identity

  • procession of magi recalling procesison that may take place on a street

  • recognizable portraits of two generations of medicis incorporated into the scene

• connotations of empowerment or rulership, biblical themes used to define and associate with these ideas

florence cathedral, 1294-96, dome and lantern from early/mid 1400s, Brunelleschi helps desicgn constructive system/dome

• aspiration to capaciousness; desire to seem as if it could hold entire population of florence

• predominant monument in city, visible in skyline

• on outskirts of old roman city in florence

• second cathedral for city

  • earlier example church of san lorenzo

• crossing at core of building, octagonal in form

  • resonant with octagonal florentine bapisttry just to the west

• chapel bays associated with different guilds, demonstrating association to politics of the moment

• windows on each bay of the lantern above providing light for the entire volume of the dome

• dome as major challenge for this building

  • 137 feet in diameter

  • curvature of dome follows that of the baptistry

  • dome increidbly tall, peak at 380 feet

  • double shell dome, self supporting as it rises and once it is complete

  • process of building developed to unique parameters

  • eight octagonal facets to the dome linked together with chains

  • dome articulated with 8 stone ribs

• lantern at top

  • visible from the ground

  • 66+ feet tall, has to be very very light

  • crown of cathedral

  • modillion, classicizing form yet sort of looks likea flying buttress

• iron tie rods across nave and aisles to resist span of spaces wihtout using flying buttresses

• referencing baptistery and pantehon

• last judgement by vasari on the ceilng

• implication that teh monument represented florentine dominance of the entirety of tuscany

church of san lorenzo, florence’s first churhc founded 393 ce, rebuilt 10445-60 and again from 1418

• cruciform core

• chapels on the side and from the transepts dedicated by different families

• consistent proportional logic in plan

  • square unit dimension, size of crossing, which repeats in each bay

• 1:2:4 width:height:length

• bay of nave

  • void to solid 5:1

  • column height 2: arch raidus 1

• entire building very logical

• using grey patternless limestone like that on the exterior of the florentine baptistery

  • renaissance arch linked to tuscan classicism; different ways renaissance is tied to earlier tradition

• relates to santa trinitia from 1410

• classicized vocabulary

  • freestanding, monolithic corinthian columns

• santa sabina as another model

  • early christian model, resonates with san lorenzo being florence’s first church

pazzi chapel, part of rebuilding of the cloister of santa croce, begun after 1442, brunelleschi (maybe michelozzo)

• patron andrea pazzi and family

  • burial chapel for family

  • second wealthiest family in florence in this period

• part of franciscan monastic site

• ratio of dimensions clarifying architectural space

• bench alla round where you can sit, no individual seats

  • collectiveity

• meetingplace of the monastic community

• pilasters above and around bench of grey limestone

• rondels showing 12 apostles

• corinthian pilasters upholding an entablature then semicircular arches beneath the dome

  • pilasters using same width as florentine baptistery ones

  • dome with windows and lantern lighting the space

• relates to old sacristy

  • direct response, families know each other

• lamb motif ?

• 12 part dome represents heavenly city of jerusalum

  • political and religious significance

tempio malatestiano, rimini, 1446-61, alberti

• incomplete rebuilding/encasement project for the church of san francesco

• for sigismondo malatesta

  • important italian guy

• nearby to an augustinian archway monument

• central nave with chapel bays on each side

• interiror dedicated to celebratino of malatesta lineage, many of whom are buried in the churhc

• sigismondo malatesta and family are buried in caskets set in archewas on either side of the entrance

• triumphal wreaths contain parts of prophyry columns from sant apollinare nuovo in ravenna from the 6th century

• exteriror bays with limestone caskets

• brick walls behind the limestone caskets

• square limestone piers, thick semicircular round arches

• classicizing and responding to the language of the nearby augustan arch

  • rondels and composite order —roman imperialst tendencies

• vocabulary resonates with colosseum

  • arches on teh side

• responding ot arch in ravenna as an area of conquest for malatesta

  • mausoleaum of theodoric

• meant to have a dome and etc, but never finished

sant’ andrea, mantua, 1472-94, alberti

• benedictine monastic church

• holds relic of earth which had chirsts blood in it

  • only displayed annually on ascension day

• walk up steps into portico

• nave design accredited to alberti

• wide space to allow for processions, no architectural obstructions to the altar so relics can be visible

• circular oculi windows line the barrel vaulting of the nave

  • resonates with the pantheon with the oculi idea

• rounded arch vocabulary along the nave

  • alternating open chapels (wider) and closed burial chapels, rhythm of wider to narrower

• theme of triumphal arch

• pilasters surrounding stacked arches on either side, larger central arch

  • resonates with three arched monuments

  • relic of blood represents triumph over death, theme of triumph important

• basilica of constantine as major precedent

  • big rounded arched bays on the sides of the nave

• dramatic lighting above the crossing

• coffered ceiling

santa maria delle grazie, milan, nave begun 1460, east end rebuilt 1492-7, architect giovanni amadeo (likely advised by bramante) and others

• houses a miracle working stateu of madonna

• east end of church made into a sforza mausoleum to commemorate generations of sforzas in teh city

• on main road leading into milan

• nave and central aisle built first, crossing and chancel in entirely different vocabulary built later

• large central dome at reconstructed east end

• nave

  • cross rib vaulted bays in the nave

  • small windows

  • move up three steps before entering east end

• east end

  • large scale rounded arch vocabulary

  • incredibly classiczied

  • powerfully lit compared to darker nave

• brick as finish/surface material

  • mroe flexibility for circular windows

  • distinct from florentine architecture

• materially monochrome

  • dominican monastic church, values austerity

• domed motif in side walls

• precedent in certosa pavia

• resonates with old sacristy

• synthesis of ideas from medici and florentine renaissance, as well as existing buildings in milan—milanese variant of renaissance which is distinct

tempietto, in cloister of church of san pietro in monotorio, bramante, 1505-06

• martyrial shrine to saint peter

• spanish patrionage

  • gold coins around the base of the site

• built once JUlius II returns to city after a plague strikes

• inside cloister of san pietro in monotorio

• bramante’s original design incorporated a circular cloister like setting around the monument which was proportionately larger than the tempietto itself

  • circular cloister refernce to the rotunda in the holy sepulchre in jerusalum, linking martyrial sites

• at back of tempietto, you can look into a cryppt where it is said peter’s cross was placed into earth before he died

• dome atop round monument

• granite columns

• entablature

  • variant of doric entablature: pattern of tryglyphs alternating with metopes

  • emblems of papcy in meotpes

  • demonstrates fusion of ancient with christian

• classicizing

  • circle of doric columns around the building

• referencing granite monolithic columnar sources like santa costanza

• pope julius II responsible for recentering renaissance to rome

  • pax romana christiana

  • identifying himself with julius cesar

rebuilding of saint peters, begun 1506 and continued under 20 popes and 14 architecuts, including bramante, raphale, antionio da sangallo, and michelangelo

• tomb of peter, international center of pilgrimage

• bramantes plan

  • greek cross

  • dome over tomb of saint peters

  • arms match central span of basilica of constantine

  • dome same dim as pantheon

• raphael

  • extends nave to cover entire ground of old saint peters

  • thinking about how to address catholicism being questioned (protestant reformatino)

• antonio da sagallo

  • uses cruciform shape

  • smaller circular domed shape over nave

  • langauge of dome repated at different scales

• michelangelos plan from 1540s

  • emphasizing center on altar above st peters tomb

  • before he dies, south area is built, thus grammar for the church is ultimatlely established

  • emphasizing visibility of central dome

    • asserting isntitutional dominance as different way of counteracting protestant threat

cortile del belvedere, vatican palace, rome, 1504-14

• courtyard connecting vatican palace to villa del belvedere

• julius II making papacy into monarchy; buildings functionality is a ceremonial space for that idea

  • place of entry into fortified vatican for empowered european rulers

• central space originally used for jousting tournament

  • arch language references colosseum

• space now subdivided bc of vatican library/museum but originally it was just one walled space

• half is lower courtyard, other half is two levels of gardens

• ascending classical orders like the colosseum

• semispherical apse at northernmost elevated level

  • bronze pinecone in center

• brick architecture

• rusticated travertine stone around the entry

• enormous entryway, PONT MAX above it—pope stating his identity in the same phrase whihc was used to announce the status of ancient roman emperors

• referencing sources like walled gardens of ancient roman emperors

  • trying to legitimze Julius II

• temple of fortuna primigenia

• piazza d oro

• pope julius II responsible for recentering renaissance to rome

  • pax romana christiana

  • identifying himself with julius cesar

tomb of julius II, begun by Michelangelo 1505-06, continued periodically between 1515-45, never finished as projected, rather as a simpelr version in church of san pietro in vincoli

• building monumental tomb for Julius II

  • project is periodically paused to divert funds towards reconstructing the churhc

  • tomb project paused again when julius dies, only resolved in 1542-45

• simplified verison in south transpet of church of saint peter in chains

• moses majorly important central figure

  • biblical antetype of what julius wante dto be

  • placed centrally on the tomb at eye level (proportion of suclpture wrong because it was supposed to be placed at a higher level)

• funerary pyre coin showing a stepped arrangement which julius’s tomb similarily employs

• no tomb precedent at this scale

stanza della segnatura, raphael, 1508-11

• focusing on divisions of knowledge

• julius ii’s papallibrary

• on level of vatican palace

  • looking at cortile del belvedere

• fresco painting

• religion/la disputa

  • is eucharist actually christ embodied

  • altar central imagery

  • pf and julius II intiials woven into the altar

• philosophy/school of athens painting

  • pictorial space appears alomst nave like; series of vaulted spaces receeding

  • fusing past knowledge and reference to current figures. blending all significances into this one moment

    • socrates, bramante, michelangelo, diogenes, pythagoras, raphael, etc, all itnerwoven

  • spatial expanse is indeterminante, vantage point

  • seeing depth of different surfaces

• picotrial space framed around yet appears on same level as visitor, as if space continues thoruhg the fresco

sistine chapel, michelangelo’s frescos from 1508-12

• chapel built by sixtus iv (julius ii uncle)

• reconstruction of earlier 14th century chapel

• used while new st peters was being buitl for papal ceremonies

• space where pope is elected by cardinals

• connected to st peters

• older painterly program

  • paintings associated w life of chirst and life of moses

  • portraits of first 32 popes; continuity

• michelangelos painterly program

  • proceeds from east to west brings you backwards in biblical time

  • sibyls (greek female prophets) and male biblical prophets surrounding the scenes and becoming unified

    • belvedere torsos

  • right finger in the painting of adam representing wisdom

• marble floor with mosaic that references early christian time

• creates central pathway which woudl be the procession of the pope

• exact proportions of the temple of solomon

  • wisdom

• rondels on ceiling referencing earlier sources like arch of constantine

• dedicated to assumption of virgin mary (central panel is creation of eve