The Library : A Turning Point For Architecture Essay

the man responsible, built not one but two domes, “one nested inside the other.” During his

The authors aims were to educate the reader upon the history of the Dome and to show how it was built, why it was an amazing feat, and why Filippo was an ingenious architecture. King achieved his aims very well. Through out the book, he expressed the importance of Filippo and everything that he did. King tells about how Filippo built and designed the Dome. He supported the claim that Filippo was before his time, and that no one could duplicate his work; “A proud Florentine, Michelangelo claimed that he could equal it, Filippo’s dome but never surprises it. In fact, he did not even equal it…” (Page 163)

Florence is home to many wonderful painters and artists during the renaissance. The one who did the ceiling of the cathedral that is shown is Giorgio Vasari. he was a renaissance painter, architect, and author. This artifact shows how extravagant they had gotten with their art, using perspective, shading and the influences of humanism to paint. This shows the true art of this time period.

The structure, approved and paid for by the city council, was a feat of amazing architecture on the part of Fillippo Brunelleschi. This was the largest dome created in that time and it was Brunelleschi’s ingenious design that won the commission against Ghiberti and other artists. The Church’s possession of grand cathedrals like this one served to demonstrate to the people the greatness of the faith and the power of God. There was a religious aspect to the construction of the immense cathedrals and basilicas; the people were paying homage to their god and constructing churches they felt were worthy for him. However, it was also somewhat political, as the grandeur of the churches was displayed to all the people in the city. No one could question the Catholic church’s might and colossal influence after viewing a cathedral such as the

(Cline 2016) Architects around the world has been studying it and attempt to infuse the strong elements or principles of design into their own works eventually common elements from the Pantheon can be found in various places, like chapel, libraries or even museum. The Rotunda (University of Virginia) build by Thomas Jefferson. The Rotunda was deeply influenced by the Pantheon in Rome and it is to symbolize "authority of nature and power of reason". The ideas of building Rotunda uses the same idea of building Pantheon. It is clearly seen that the materials use is very different. Pantheon is constructed by reinforced concrete while Rotunda gives a neat and clean finish of the overall building by using wood and brick. Moving to the interior, it uses a different approach while it is designed. Pantheon is an enclosed big place where the only light source enter is from the eye while Rotunda is built as an mulit-story architecture that the light source comes from the windows was in-built around the dome. Other examples are like San Antonio, Trieste, build by Pietro Nobile; Church of the Great Mother of God, Turin, build by Ferdinando Bonsignore; Church of San Francesco di Paolo, Naples, build by Pietro Bianchi. The similarities among these architecture is all was deeply influenced by Pantheon and have a similar architecture building,

Prior to writing his four published book on architecture Palladio had written two different books that was based on architecture. These books were published in 1554 in Rome while he was visiting Daniele Barbaro. Essentially the purpose of the books was to serve as guidebooks for historical monuments within Rome. The first book he had written contained short descriptions for travelers that discussed the appearance and history of classical ruins. His guidebook was actually a replacement for an older medieval guidebook, which focused more on the mythical side of Rome. Palladio’s book stood out because he pertained more to factual information rather than fictional. Many people, who were visiting Rome, bought the first book because they found it

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

John Volk was the architect that designed The Museum of Fine Arts and explained the structure as such: “a museum should give a feeling of permanence and that is what I have tried to do with this building”. His plan was well executed, when I arrived to the museum I noticed two different designs. The front of the museum reminded me of the Ionic Order, the Volutes and the molded bases became my main focus. The beige paint seemed like a great fit as well, it added to the light and airy flow within the museum and gave me further evidence that the Ionic order outside represented what was displayed inside. However, the actual style of the building was a Palladian Style which originated from Europe in the 1500’s.

The rectangular pattern of the tiles in back of the Italian Renaissance painting underlines the geometric arrangement of the figures in the foreground and the background. All of the images of the people look carefully 'placed' by the artist. Not only was interest in classical era sculpture and architecture revived during the Renaissance in Italy, but also interest in math and science, and the near-mathematical precision of the painting reflects this fact.

Cosimo de’Medici filled his libraries with over seventy volumes and made sure to only include text worthy of reading with “the collection reflect[ing] his literary taste and consist[ing] of classical texts as well as a mix of secular and sacred works typical of collections at the time” (Meehann 15). Cosimo’s first library was constructed in 1433 outside of Florence as a gift for Venetian hospitality and good will. He built and furnished the library for the San Giorgio Maggiore monastery in Venice (Meehan 16). Cosimo’s behavior illustrates that not all members of the Medici family used art for gaining power. The parts of Cosimo’s library that did not go to the San Marco collection went to two of his sons, Piero and Giovanni. As the two boys grew up, they collected more books in competition, but unlike their father’s simple manuscript style, they collected miniatures that were created by leading

A contest was designed to encourage the greatest architects to create plans for what the cathedral’s ceiling would look like. Ultimately, an artist named Filippo Brunelleschi won, and was responsible for the building of the Duomo in Florence. Upon first glance, the building of the Duomo may not strike people as a monumental or important event in history. However, it is important to remember the Duomo was constructed in Florence, where flying buttresses -an architectural design that carried the weight of roofs on large buildings to the ground- were illegal. Construction of the Duomo took place from 1420 to 1436, and required Brunelleschi to engineer a support system for the roof, previously thought impossible. Traveling back to the Italian Renaissance would allow me to witness architectural history. I would be able to observe Brunelleschi’s imagination come to life, question his methods of thinking, and watch the development of the Duomo create new opportunities for architects in the

Brunelleschi’s Dome is the story of Fillipo Brunelleschi - or Pippo, as he was often known - and the ingenious methods he employed in raising the famous duomo over Santa Maria del Fiore. On August 19th in the summer of 1418, all the citizens of Florence, Italy were called upon to devise a solution for what was to be one of the greatest conundrums of the Renaissance - the vaulting of the cupola over the city’s new church. Santa Maria del Fiore, built upon the ruins of Santa Reparata, was to be the grandest and most lauded accomplishment in renaissance architecture. The vaulting of the dome was truly a daunting endeavor for any that toed up to the challenge. When Neri di Fiorivanti, the original Capo Maestri - or head architect for the project -

Brunelleschi spent his early years studying art and linear relationships. He also spent 15 years studying the secrets of Roman architecture. Investigations reveal he incorporated this knowledge into the construction of the dome with the use of inverted arches for the walls, and the “spina pesce” (herringbone) pattern of brickwork used in the dome, which directed the weight of the bricks

By the time Michelangelo returned to Florence, he had become somewhat of an art star. He had taken over commissions for a statue of “David”, and several other commissions, including a important project for the tomb of Pope Julis II, but this project was interrupted due to a request for Michelangelo to decorate the ceiling of the Sistine Chapel. Michelangelo continued the work on the tomb of Julis II after the Sistine Chapel was completed, and even designed the Medici Chapel and the Laurentian Library.

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.