Renaissance Jewels: San Pietro in Montorio & El Escorial
San Pietro in Montorio: Bramante’s Roman Masterpiece
Built on the supposed site of St. Peter’s crucifixion by Donato Bramante between 1502-1503 and commissioned by the Catholic Monarchs, it later became the Royal Spanish Academy in Rome. Inspired by the ancient temples of Vesta and Sibyl, it embodies the classical style.
This work synthesizes Bramante’s interest in centralized plans, creating a circular architectural space. It is complete and self-contained, with two levels above ground or steps. It possesses perfect harmony and rationality; everything is subject to symmetry. All proportions and contours determining the building’s overall shape were designed based on the circle.
Architectural Features
It utilizes complementary vaulted elements and an architrave. Perspective is employed, planning the building in concentric levels:
- The three steps.
- The peristyle of 16 columns in the Tuscan order, forming a portico.
- The cylindrical wall body, articulated by pilasters.
- The dome on a drum, topped by a lantern.
Ornamentation is renounced in favor of reduced austerity. Decorative elements are minimized, emphasizing structural forms. Openings serve as light sources. The frieze is decorated with triglyphs and metopes, depicting the martyrdom of the Apostle Peter.
As a temple for religious worship, it is grand and monumental due to the careful study of each part, forming a perfectly articulated whole. This work became a paradigm of High Renaissance classicism.
San Lorenzo del Escorial: Symbol of Spanish Power
Constructed between 1563 and 1584 under the patronage of Philip II, El Escorial served multiple functions: a monastery, royal palace, pantheon, and library. It stands as the symbol of Philip II’s monarchy, during whose reign Spain expanded its European and American domains.
The building’s constructive austerity relates to the Counter-Reformation and the attitude of Philip II. It fits within the late Spanish Renaissance. Juan de Herrera is the primary architect, modifying an initial project by Juan Bautista de Toledo.
Layout and Design
Conceived as a grand rectangle of imposing proportions, four towers mark each corner, enclosed by massive granite walls, giving it a fortress-like appearance. The interior space is divided into:
- The Church: Features a Greek cross plan with a central dome. Supports are gigantic pillars with attached short columns and pronounced cornices. Below the presbytery lies the Royal Pantheon. The facade opens onto the Courtyard of the Kings, which serves as an atrium.
- The Monastery and College: Located on either side of the Courtyard of the Kings, they have separate entrances on the west facade and share a similar structure around four interior patios. To the east is the Courtyard of the Evangelists.
- The Palace: Situated northeast of the complex, arranged around a large patio.
The Escurialense Style
Horizontal lines and numerous symmetrical windows dominate, accentuating the construction’s simplicity and severity. Entrances are marked by classical columns and pediments. Slate roofs with two slopes are characteristic. Decorative elements are almost non-existent. The only significant figurative ornament is a statue of St. Lawrence on the west facade and a granite relief of Philip II’s coat of arms below it. Inside, sculpture gains more richness.
The simplicity of form and minimal decoration, combined with its monumental appearance, define the Escurialense style. The organization into distinct spatial areas breaks from the unitary spatial structure typical of the earlier Renaissance.