Renaissance Architecture: San Pietro in Montorio & Santa Maria del Fiore
The Temple of San Pietro in Montorio
Cinquecento Architecture by Bramante (1502-1510)
The Temple of San Pietro in Montorio, located in one of the patios of the Franciscan convent in Rome (now the Academy of Spain in Rome), was commissioned by the Catholic Monarchs to commemorate the taking of Granada in 1492. It is believed to stand where Saint Peter was martyred. This work is considered a manifesto of Renaissance classicism due to its clean lines and decorative austerity.
Construction and Design
Built with granite, marble, travertine, stucco, and revoco, the circular temple imitates oriental martyriums. Its colonnade surrounds the cella, which is covered by a dome, forming a peristyle. The circular form is a clear reference to Greek tholos temples. The temple stands on a podium, reached by a short flight of steps, and features a Tuscan or Roman Doric order colonnade, topped by a Doric entablature (metopes and triglyphs) and crowned by a balustrade. The 48 metopes originally depicted a bust figure repeated four times.
The cella’s outer wall is decorated with semicircular niches and lintel openings (doors and windows), separated by pilasters that correspond to the colonnade’s columns. This rhythmic decoration is based on the three doors and the altar, situated at the ends of two axes that cross at right angles. Bramante utilizes the cylinder as a recurring motif, seen in the columns, porch railing, and cella’s drum. The crypt, located beneath the high altar, is where St. Peter was allegedly crucified.
Church and Dome of Santa Maria del Fiore
Filippo Brunelleschi (1377-1446) – Renaissance Architecture (Quattrocento)
The Cathedral of Santa Maria del Fiore in Florence is a major work of Renaissance architecture, particularly its dome, which marks a transition from the Gothic style of the cathedral’s body. The colossal dome, 42 meters tall, has a pointed profile to harmonize with the Gothic structure and is topped by a large lantern. It is built on an octagonal base using Roman bricks of exceptional quality, manufactured under Brunelleschi’s supervision.
The Dome’s Structure
The dome consists of two parallel shells, one inner and one outer, both circular with an octagonal section. It is the largest brick structure in the world. The two shells are joined by large stones at their base. Eight visible exterior ribs connect to hidden ribs within the panels. The construction employed the opus spicatum technique, used by the Romans, where the arrangement of bricks resembles fish bones.
The lantern atop the dome allows white light to penetrate the interior, reminiscent of the Pantheon in Rome and contrasting with the colored light of Gothic buildings. The dome’s centralized design reflects the Renaissance focus on anthropocentrism, placing humans at the center of the building, a position previously occupied by God. This signifies a return to classical ideals.
Botticelli’s Primavera (Spring)
A Poetic Renaissance Masterpiece
Primavera (Spring) by Sandro Botticelli (1444-1510) is a tempera painting on panel that depicts mythological figures, including Venus, the Three Graces, Mercury, Flora, Chloris, Zephyrus, and Cupid. The work is notable for its realism, detailed anatomy, naturalism, and portraiture.
Symbolism and Composition
The figures are believed to represent various concepts: the Three Graces may symbolize lust, chastity, and beauty; Venus represents love and fertility; Mercury represents reason and intellect; Flora represents spring and flowers; Chloris represents youth and new growth; Zephyrus represents the west wind; and Cupid represents desire and love. The figures are arranged in a dynamic composition, with the Three Graces dancing, Chloris being pursued by Zephyrus, and Cupid aiming his arrow. Venus stands in the center, surrounded by an aura of light.
Technique and Style
Botticelli’s technique is characterized by its delicate lines, vibrant colors, and attention to detail. He uses both cold and warm colors to create contrast and depth. The figures are modeled with light and shadow, giving them a sense of volume and realism. The landscape is depicted with a sense of depth and perspective, although the figures are not placed in a strict perspective system. Botticelli’s style is more poetic than scientific, and he prioritizes the representation of human figures over perspective.
Botticelli’s Artistic Journey
Botticelli’s painting was influenced by the preaching of the monk Savonarola, who criticized pagan themes in art. Botticelli even participated in a public burning of paintings, including some of his own. Despite this, he remained a great painter of Madonnas and continued to explore mythological themes in his work. Other notable works by Botticelli include The Calumny of Apelles, The Birth of Venus, and The Mystic Nativity.