Renaissance, Mannerist and Baroque Churches

Question 1

Key characteristics of the Renaissance Church

1420-1500

Brunelleschi + Alberti

Answer 1

• Desire to transform Early Christian Basilica into designed, Classically sophisticated space
• Aimed for mathematical + aesthetic harmony
• Space divided into geometric modules
• Inclusion of Classical idiom - system of arches and columns, domes, static division of space
• Western facade becomes classically composed gateway
  
  • Geometric shapes
  • Proportion
  • Use of Classical orders

Question 2

S. Andrea

Mantua, Italy

Leon Battista Alberti

1470‐

Answer 2

• Speaks of solidity, mass + luxury
• Steps project outwards into public space (key feature of Baroque)
• Elaborate use of Corinthian classical order
• Coffered barrel vault
  
  • Recalls Basilica of Maxentius, Arch of Titus
• Geometric unity and rhythm

Question 3

Il Gesu (facade)

Rome, Giacomo della Porta

1570

Answer 3

• Emphasis on the centre
• Clear sense of verticality, achieved by paired pilasters
• Pedimented aedicules in the upper story correspond in form with those on the ground floor
• Use of the triangular pediment, varies in size - creates sense of movement and rhythm
• Undulating affect - eye guided gradually around the space
• Far more rich, luxurious in comparison to Brunelleschi

Question 4

Il Redentore

Venice, Italy

Andrea Palladio

1577‐1592

Answer 4

• Recalls the Pantheon
• Four, interlocking temple fronts - solves the ‘problem of the facade’
• Layering of the triangle, varied treatment of the classical orders (pilasters and columns) creates a satisfactory sense of harmony
• Really sublime sense of balance

Question 5

S. Carlo alle Quattro Fontane

Rome

Francesco Borromini

1637‐41, facade 1665‐

Answer 5

• Convex and concave niches
• Alternates between upper and lower facade
• Use of the triangle and the circle - creates a fluidity and rhythm
• No right angles
• High relief sculptural programme
• Far more rich and varied that Renaissance counterpart
• There is a SUGGESTED geometric basis to the plan
• Curvilinear - eye travels around the room
• Creates engaging sort of DRAMA - draws people into the Christian realm

Question 6

S. Andrea al Quirinale

Rome, Italy

Gianlorenzo Bernini, 1658‐70

Answer 6

• Projecting staircase, wide portico and steps
• Taking over space, entering the piazza
• Emphasis on verticality, despite small scale
• Domed, coffered ceiling
• Light at the base of the dome, recalls Hagia Sophia

Question 7

S. Lorenzo

Turin, Italy

Guarino Guarini

1668‐90

Answer 7

• Octagonal plan
• Uses gothic devices, load is on the outside
• Piers at 45 degree angles
• Church is colourful, varied use of materials
• Ribbed dome, similar to that of the Great Mosque of Cordoba
• Plasticity, disillusion of wall surface
• Changing use of art, light, sculpture

Question 8

Key features of Baroque Church

Answer 8

• Baroque Church becomes intrinsic part of Christian ideology in the city
• Key feature of urban space, they ‘speak’
• Sophisticated use of geometrical planning and classical orders
• Creates a fluid space, internally and externally
• Greater use of colour, lighting, sculpture, art
• Aims to create empathy for the Christian cause during the
• Dome made diaphanous, ‘dissolves’