ARC  204  HISTORY OF EUROPEAN ARCHITECTURE ‐ II

ROMANESQUE, GOTHIC & RENAISSANCE PERIOD
 ARC 204 HISTORY OF EUROPEAN ARCHITECTURE – II

Presentation – Prof.M.Thirumeni
SYLLABUS:

PURPOSE
To impart knowledge about the art & architecture of England, France and Italy during the middle ages and later period.

INSTRUCTIONAL OBJECTIVES
The course creates awareness about the various architectural movements that influenced the building traditions of the three European nations. Development of
th ability
the bilit tto sketch
k t h Pl
Plans, sections,
ti elevations
l ti and
d architectural
hit t l d details
t il iis also
l iintended.
t d d
.
1 ROMANESQUE ARCHITECTURE
Evolution of religious orders in Christianity – Formation of guild of arts and crafts -Factors influencing Romanesque architecture - Outline of architecture
character in Italy, France and England - Examples: Cathedral, Baptistery and leaning tower at Pisa in Italy; Abbaye aux Hommes at Caen in France and Tower
of London in England.

2 GOTHIC ARCHITECTURE
French gothic - Religious and social influences - Evolution of vaulting and development of structural systems - Outline of Architectural character - Examples:
Notre Dame at Paris - Development of English gothic vaulting - Outline of Architectural character in England and Italy - Examples: Westminster Abbey and
Hampton Court Palace at London , Doges Palace at Venice, Milan Cathedral.

3 RENAISSANCE ARCHITECTURE IN ITALY

Italian Renaissance - The idea off rebirth and revival off art – Factors influencing
f renaissance architecture -Outline
O off Architectural character during the early
Renaissance, High Renaissance and Baroque Periods - Features of a typical Renaissance palace - Examples. Palazzo Ricardi - Study of the contributions of
the following architects: Brunelleschi, Michelangelo and Andrea Palladio - Examples - St. Peters basilica at Rome, Villa capra in Vicenza.

4 RENAISSANCE ARCHITECTURE IN FRANCE

Factors influencing French renaissance - Architectural character during the classical & Rococo periods - Examples - Chateau de Chambord and the Louvre at
Paris.
Paris

5 RENAISSANCE ARCHITECTURE IN ENGLAND

Factors influencing English renaissance - Domestic architecture in Britain during the Elizabethan, Jacobean, Baroque and Georgian periods - Study of the works
of Sir Christopher Wren & Inigo Jones, Examples - St. Paul's Cathedral at London and Banqueting House at Whitehall.
ROMANESQUE ARCHITECTURE

• After the decline of the Roman empire the building of large churches in western Europe
known as “Cathedrals” started in a big way with the spread of organized monasteries
called “Orders” under the rule of St.Benedict & others.
• The monks used a simplified Roman style with thick load bearing walls
walls, stout columns,
columns
small window openings and semi circular arches that came to be known as the
“Romanesque” style. They also revived the technique of building high vaults in masonry.
• The term Romanesque refers to the period of European architecture that was based on
roman & byzantine art from the departure of the romans up to the end of the 12th
century when the pointed arch came to be used.
• Various monastic orders were established such as the Benedictine order (teachers),
Augustinian order (preachers), the Cistercian order (farmers), the Clunaic order (artists),
and
d th
the C
Carthusian
th i orderd (ascetics).
( ti ) The
Th monasticti system
t developed
d l d new methods
th d in
i
agriculture, science, art, letters and architecture.
• A monastery would normally comprise of the church, a cloister court around which were
built the dormitory, the sacristy and the chapter house. The refectory (dining) & kitchen
were located on the other side of the cloister while the cellar was below the dormitory.
• Each country developed its own regional version of the Romanesque style as can be
seen in the Pisa group that is representative of Italy, the Abbey aux hommes, Caen,
representingg France and the Durham Cathedral which is an example for England.g
ITALIAN ROMANESQUE ARCHITECTURE

• Factors influencing Architecture

• Geographical factors – Pisa became one of the major port cities in Italy along with
Venice, Ravenna and Genoa. Geographical variations in architecture are classified into
three distinct zones : 1.Central Italy, still under the influence of Rome, 2.Northern Italy in
contact with western Europe & 3.Southern
3 Southern Italy,
Italy open to Eastern influences.
influences
• Geological factors – Much material was obtained from the ruins of classical buildings.
Stone was abundant in Tuscanny. Marble was brought from Carera and the greek
islands. Brick and volcanic tufa (soil) were obtained from Rome & travertine from Tivoli.
• Climatic factors – Central Italy has a sunny,
sunny mediterranean climate which demanded
small windows and thick walls to keep off the heat during day time. However, northern
Italy experiences snowfall in winter, since it is nearer to the Alps and hence buildings
have larger windows & pitched roofs to keep of the snow. Southern Italy has a
subtropical climate and therefore flat roofs & open courtyards are common.
• Religious influences – During this period, the Popes, Bishops & other members of the
clergy gained power and hence religious buildings like large Cathedrals & Monasteries
were constructed. Central Italy came to be ruled by the Pope & the religious fervor
resulted in the Holy crusade wars to regain Palestine.
• Social factors – The growth of trade & commerce led to the rise of powerful merchant
families in Pisa, Venice and Genoa, who developed architecture & allied fields such as
painting and sculpture to a very high level.
• Historical factors – The people of the sea side cites had exposure to eastern art as result
off th
the ttrading
di g activities
ti iti with
ith other
th countries
t i and d this
thi Islamic
I l i influence
i fl can be
b seen in
i the
th
interior treatment of many cathedrals, especially in central and southern Italy.
 PLAN OF THE PISA CATHEDRAL SHOWING ITS VARIOUS PARTS
TRANCEPT

Double aisle with cross vaulting

Large pier altar

entry

NAVE apse

Small pier

Single aisle
Oval dome above

Semi circular apse at the trancept

• The interior view of the nave
with the apsidal end shows the
pointed arch of islamic origin
and the roman semi circular
arcading.

• The clear storey slit windows

bringing light into the nave &
the coffered ceiling are typical
of early christian churches.
• The interior view of the Apse shows the mosaic of Christ on the semi dome, in
Byzantine style. The altar located in front of the apse is lit by a slit window.
• This detail of the interior of
the dome shows the
coloured mosaic of Christ,
Christ
st.Mary & st. John on either
side. Other paintings that
adorn the apse also can be
observed.
• The gilded coffered ceiling can be seen. It displays the Medici coat of arms.
• The treatment of the double arcading in the 1st floor can also be observed.
The oval cupola at the intersection is a new concept and it is painted showing
the blessed virgin going to heaven.
This inside view of entrance shows the stout columns with corinthian capitals
supporting the arcade. The entrance door with pilaster & pediment is also seen.
The treatment of the walls with alternating horizontal bands of white and black
marble is a definite Moorish influence. The geometrical patterns are also derived.
The cross vaulting above the aisles, the moorish treatment of the arches & the
arched slit windows that bring light to the ground floor can be seen along with
the paintings that adorn the walls over the entire length.
Architectural Character

• The latin cross plan with the cupola or dome above the intersection and the
thick walls are a continuation of the concept of early Christian churches.
• The semi circular arcading in the façade of the building throws shadows on the
walls giving it the requisite depth in elevations. The tiers of arcading up to the
gable end with marble statues at the ridge & eaves is typically Romanesque.
• Separate buildings for the church, bell tower (campanile) , baptistery & the
cemetery (campasanto) is also a development of Romanesque period. The bell
tower took the form of a cylindrical tower with arcades in all the floors, while
the baptistery was also circular in plan with arcading all around.
around
• Cladding the walls with horizontal bands of colored marble, both in the exterior
& the interior is also characteristic of Italian Romanesque style.
• Other features such as the arched clear storey windows, the gilded coffered
ceiling, the pitched roof above and the apsidal end are adopted from basilican
churches. However, the upper triforium gallery for women & the apse in the
trancepts are additions of this period.
• Various decorative techniques such as Mosaics, Sculpture in rectangular
panels & the panels of the bronze doors are used for figurative story telling.
• Various influences such as the moorish treatment of interior walls and arches,
the Islamic pointed arch at the base of the dome and the byzantine mosaics
found in the apse are indicative of the struggle to develop a distinctive
architectural style for christianity.
The upper gallery, meant for women was known as the Triforium as it was located
on both sides of the nave and the two trancepts.
The tiers of arcading resting on the many circular columns right up to the gable
end of the elevation is an attempt to increase the verticality of the building.
This photo clearly shows the massing with the pitched roofs above the nave & transepts,
the conical roof above the apses and the cupola with arcading at the base.
• The Baptistery dedicated to
St John the baptist was built
St.John,
during the mid 12th century.
• It has a circular plan with a
circumference of 107.25m
• The architect is Deotisalvi, but
the conical top part of the
dome was completed only in
the 14th century.
• The drum of the dome is
divided horizontally onto 2
parts by the lintel.
lintel
• The interior has a concentric row of columns & piers and doesn’t have any
decoration except for the horizontal rows of colored marble cladding.
• The cross vaulting used over the
ambulatory is remarkable since
it is employed over a segment of
the ring space.
• The arched slit windows bringing
light to
t the
th walk
lk way can be
b
seen.
• The leaning tower of Pisa (Campanile)
is the free standing bell tower of the
Pisa Cathedral.
• It is circular in plan with a diameter of
15.5m and has 8 floors that rise to a
height of 56m.
• It has been constructed in stage over a
period
pe od of
o 200
00 yea
yearss sta
starting
t g from
o 1173 3
AD.

• Although intended to stand vertically,

the tower began to lean towards the
south-east due to poorly laid
foundations & the loose substrata.
• Presently the top of the tower leans
4.5m away from where it is supposed
to be if it was standing vertically.
• It has 294 steps leading to the top and
the walls are about 4m thick in the GF
& decrease to 2.5m in TF
• The GF has blind arches supported by columns having classical capitals. It has
a bell in each floor of enormous weight. The tower kept on leaning away from
the vertical axis & the Italians were worried that it would finally collapse.
FRENCH ROMANESQUE ARCHITECTURE
 FRENCH ROMANESQUE
Factors influencing Architecture:
Geographical: France is centrally located between the North & South of Western Europe
with 4 rivers (Seine, Rhone) connecting the Mediterranean with the Atlantic.
Romanesque buildings differ in character in the north & south of France. The South
is remarkable for richly decorated church facades & the use of roman architectural
features The north developed a new style by introducing 2 flanking towers in the
features.
west facade & the rib and panel vaulting over the nave that later evolved into the
gothic vaulting.
Geological: In the northern province of Normandy, fine grained Caen stone was
available and was used for all religious & secular buildings. In the south, volcanic
pumice & tufa stone which were light in weight was abundant and were used as
panels in the ribbed vaulting.
Climatic: The climate varies from the cold,, temperate
p in the north to the sub-tropical
p in
southern france. Hence, the door & window openings decrease in size in the south.
In the north, the buildings have steep pitched roofs to through off the snow, whereas
the roof becomes almost flat in the south.
Religious: The Cluniac order was formed in 909 AD & the Cistercian order in 1098 AD. AD
Religious zeal led to more people opting for monastic life & hence large
monasteries were built. Ex. Abbey aux Hommes, Caen.
Social: For most of the time from the 6th to11th century, France existed as a series of
small states & therefore feudal
fe dal landlords became very
er powerful
po erf l and they
the were
ere
attached to the local religious order.
Historical: King Pepin unified France & his son Charlemagne became the Emperor.
Architectural Character:
•Romanesque architecture is characterized by its massive quality, its thick walls, round arches,
sturdy piers, groin vaults, tall towers & decorative arcading.

g
•Regular symmetrical
y plans
p & clearlyy defined forms give
g it an overall appearance
pp of simplicity.
p y
•The walls are massive in its thickness with small openings. They are often double shells filled
with rubble. The piers that support arches are either square or rectangular in plan and have a
horizontal molding at the springing of the arch.

•Columns were built of stone cylinders called drums. The foliated Corinthian capital was used as
it was round at the bottom where it sits on a circular column & square at the top, where it
supports the arch. Alteration of piers of different forms is typical of the french romanesque style.
y
•Ribbed vaults were employed, where the transverse & diagonal
g ribs are structural members and
the spaces between them could be filled up with lighter non structural material.

• Because the romanesque arches are always semicircular, the structural problem in the ribbed
vault is that the diagonal span is always larger & therefore higher than the transverse span. In
france, the solution was to stilt the transverse ribs or depress the diagonal ribs so that the center
line of the vault was horizontal.

•Towers are an important feature & in the french romanesque 2 large square towers were
commonly used in abbey churches. The extensive sculptural scheme that adorns the entrance
portal is also a characteristic feature. Murals on the interior of vaults and domes are also typical
of this style. The apsidal ends have a chancel surrounded by an ambulatory.
• The Abbey aux Hommes atCaen,
also known as church of St.Etienne
stands along with the neighboring
abbey
bb forf women.
• The elevation has three floors with
the twin towers having octagonal
spires rising above.
above
• The recessed entrance arch and the
blind arcading on the towers are
typical Romanesque features.
• The abbey church is built of stone
and has a pitched roof above the
nave vaulting.
• The Abbey aux Dames does not
have the octagonal spires on top of
the towers like the abbey aux
hommes.
• The buttresses that support the
towers and the parapet wall are
distinctive features.
• Built during the 11th century the two
abbeys are considered to be the
forerunners of the Gothic style that
was to follow.
 chevet

• The central nave has sexpartite ribbed vaulting, while the aisles on both sides have
quadripartite ribbed vaulting.
• The extension of the apse into the chevet was done later & is typical of the french
romanesque style.
• The thrust of the nave vault was counteracted by a semi-barrel vault over the
triforium gallery which acted as a concealed flying buttress.
• The nave vaulting compartment was equal to 2 aisle compartments so that it was
approx. a square, in order to overcome the difference in the rise of the diagonal ribs
over the transverse ribs.
• The difference in the rise between the diagonal ribs & the transverse ribs is solved
by adopting an elliptical arch for diagonal ribs,
ribs as shown on the left & by having the
transverse ribs stilted so that it is equal in height to the semi-circular diagonal rib,
as shown on the right. In the detail shown on the middle, the diagonal rib rises
above the transverse ribs, but the domical vaulting on top completes the scheme.
Slate roof on wooden Sexpartite vaulting with
trusses ribbed vault

Flat buttresses Semi-circular barrel vault over triforium to

counteract the
h thrust
h off the
h nave vaultsl
• The thick walls, massive
piers & the vaulting on
the nave and aisles can
be seen
triforium • The increase height of
the nave with clear
storey windows that
bring in the light are
indicative of the vertical
expression and lighting
nave
scheme of the gothic
aisle style that was to follow

Cross section of the Abbey aux Hommes

Spires over square & octagonal towers are a characteristic feature of the french
romanesque and when grouped with pyramidal or conical roofs give a vertical
character to the style. The Rose window & arcading in the chevet can be seen.
• The ribbed sexpartite vaulting
above the nave can be observed.
• The upper triforium gallery was
used by women.
• The massive piers & semi-circular
arcading are typical of this style
• The entrance to the abbey
shows the walls built of squared
rubble stone.
• Th flat
The fl t buttresses
b tt that
th t take
t k up
the thrust of the towers can
also be seen in elevation.
Imposing doorways on the west façade with sculptured tympanum above formed the
entrance to the Abbey church. Here the holy trinity is represented within recessed arches.
The crossing between the nave & transept
is roofed with an octagonal spire and the
articulation of parts of the aisle into towers
with spires can be seen.
The interior elevation of the nave bays
shows the string courses at the springing
the arches.
The elliptical rib over the diagonals of the
compartment
p can be seen so that it rises
to equal height of the semi-circular arch
over the other sides.
ENGLISH ROMANESQUE ARCHITECTURE
 ENGLISH ROMANESQUE (NORMAN)
FACTORS INFLUENCING ARCHITECTURE:
• Since
Si England
E l d is i geographically
hi ll separated d from
f the
h rest off Europe
E by
b sea, the
h
Romanesque style arrived here belatedly.
• England had a variety of stones such as the granites of Cornwall, the sandstone of
Yorkshire Bath stone,
Yorkshire, stone and marble from Puerbeck.
Puerbeck The fine oak forests provided
timber for trusses, beams & posts.
• The cold and wet English climate had its effect on architecture with buildings
having high pitched roof to throw off rain &snow, larger windows to admit light and
deeper entrance porticoes to keep off the cold wind.
• Various monastic orders were established & towns grew up around abbeys and
castles, which subsequently became trading centers that laid the foundations of
l
local
l government.
g t The
Th ggovernmentt was fformed dbby nobles,
bl clergy
l g and d commons.
• The Anglo-Saxon period existing from 6th to 11th century, and the Norman period of
the 12th century together define the phase of Romanesque architecture in England
ARCHITECTURAL CHARACTER:
• Norman architecture is bold & massive with typical features such as semi-circular
arches, cylindrical piers and flat buttresses.
• The groins of cross vaults were replaced by ribs along the side & diagonals, which
supported the thin panels of stone, which later evolved into the elaborate rib &
panel vaulting of gothic period.
The lay out of
the tower of
London shows
the outer bailey
& inner bailey
with the moat
on 4 sides and
river
i Thames
Th
abutting on one
side. The white
tower, queens
house etc are
surrounded by
the inner bailey
with 13 towers
while the outer
bailey has 3
circular bastions
and 6 towers, of
which the
St Thomas tower
St.Thomas
serves as the
main entrance.
This aerial view of the tower of london shows the white tower in the middle with
other buildings surrounded by the double fortifications known as the inner bailey
& outer bailey. It also houses the Royal palace of Her majesty, the Queen of England.
 Outer bailey with 3 circular bastions

Queens house

White tower

Inner bailey with 13 towers

This lay out of 1918 AD

showing the parts of the
Tower of London was
started by William after
the norman conquest &
was enlarged and
modified
difi d by
b subsequent
b t
English monarchs. It
served as fortress, royal
residence & prison to
protect the city of London
St Thomas tower
The White tower is the main building within the complex & was built by William the
Conqueror in 1078 Ad with caen stone imported from France France. It has 4 floors with tower
at the corners rising to about 92 ft. in height. It also displays the characteristic
Romanesque features such as thick walls, semi-circular arched windows etc.
• The white tower, known as the
Royal keep is rectangular in
plan with a corridor running
all around the building with 2
square towers and a circular
one at the corners housing
spiral staircases.
• It has got a chapel measuring
32 ft. in width with the apsidal
end projecting out.
• It also has banqueting hall of
39’X94’ size & the presence
chamber on the 3rd floor,
while the lower floors
accommodate the royal
quarters.
• Both halls have 2 rows of
circular column supporting
vaults with trusses supporting
pitched roofs on top.
• The white tower was modified by many
kings & displays the flat buttresses,
semicircular windows and battlemented
parapet walls that are characteristic of
th N
the Norman style.
t l
• The treatment of the corner towers with
a cupola as the roof is also typical.
• The windows are emphasized
p byy the use
of a light colored stone with key stone &
sill projections.
• Rusticated quoins are used in the
buttresses & corners of the building
•The rib and panel vaulting can be observed on the roof of the Byward tower and
even in the gateway of the Bloody tower.
•The semi-circular arches & circular columns in the interior of the St.John’s chapel
are typical of the Norman period.
•However the pointed arches of the Byward tower are a product of the Gothic period,
while
hil the
h Tudor
T d arch h off the
h Bloody
Bl d tower is
i off a later
l date.
d
•The bold & massive character of this style can be observed from the 3 diagrams,
furnished above.
• This view shows
the White tower
and the St,Thomas
St Thomas
tower from across
the river Thames
• This picture shows the details of the inner fort wall with battlemented parapets and
small openings for defense purposes. There is a lawn area in between the outer &
inner fort walls.
• The present entry point is located at the Middle tower, which connects by a
bridge across the moat to the Byward tower that serves as the actual entry.
• This picture taken in the past century shows why the Tower of London is considered
to be a historical monument and a symbol of royal authority.
GOTHIC ARCHITECTURE IN FRANCE
 GOTHIC ARCHITECTURE
INFLUENCES:
Geographical: Gothic style originated from the “Isle de
France” that is the area around
aro nd Paris that is surrounded
s rro nded
by rivers. The 1st gothic church known as the Abbey of
Saint-Denis was built on the outskirts of Paris by the
Abbot Suger, who wanted his church to represent
enthusiasm,
th i lightness
light & energy.
g
Religious: The urge to create large, monumental prayer
halls for christianity was the prime cause behind the
construction of these vast cathedrals across Europe. The
scale & height of these buildings indicate that the
intention was to create landmark structures that could
be seen for miles around.
Social: The clergy & the monastic orders enjoyed an
exalted position in the society with the church exercising
control over most of the commercial activities.
Historical: The construction techniques of the pointed
arch the rib & panel vaulting,
arch, vaulting the flying buttresses etc
were already in use for some time. But it was the
concept of building a stone skeleton with a combination
of these elements & filling the openings with stained
glass that results in the effect of lightness & energy.
energy
Geological: Stone was abundantly available in the region
around Paris, but the art of stained glass was rather a
new one & developed into a fine art.
Vaulting method of Gothic churches and cathedrals
 Characteristics of Gothic churches and cathedrals

• In Gothic architecture, the new technology that enforced a new building style was
the pointed arch. Other characteristics developed as the consequence of the use of
the pointed arch.
• Th Gothic
The G thi style
t l emphasizes
h i verticality
ti lit andd features
f t almost
l t skeletal
k l t l stone
t
structures with great expanses of glass, ribbed vaults, clustered columns, pointed
spires, flying buttresses and inventive sculptural detail such as gargoyles.
• Planning: Most Gothic cathedrals, are of the Latin cross plan, with a long nave and
the shorter transept. There are several regional variations to this plan.
• Height: The basic characteristic of Gothic church architecture is its height. A section
off th
the off a G
Gothic
thi church
h h showsh th
the proportion
ti off th
the width
idth off th
the nave tto it
its
height to be varying from 1:2 to 1:3.6. Externally, towers and spires are
characteristic of Gothic churches both great and small.
• Vertical emphasis: On the exterior
exterior, the verticality is emphasized in a major way by
the towers, spires, narrow windows and projecting vertical buttresses.
• On the interior, attached shafts often rise up from floor to ceiling and meet the ribs
of the vault, like a tall tree spreading into branches.
• Light: Large stained glass windows added color to the interiors, thus providing a
medium for figurative & narrative art.
• Lancet, Equilateral, Flamboyant & the Depressed arch were commonly employed.
SECTIONAL VIEW OF A GOTHIC CATHEDRAL
EVOLUTION OF GOTHIC VAULTING
The use of Pointed arch of different  Pinnacles give the required 
spans along the nave, across it & in the  vertical force to counteract the 
diagonal ribs resulted in the height  sideways thrust in the flying 
becoming equal at the top
becoming equal at the top. buttresses
The Gothic Rib & Panel vault 
resting on clustered columns

Flying buttresses take the 
sideways thrust & transfer it to 
the foundations

Walls were reduced to skeletons to 
accommodate the large clear 
storey windows that brought light

Isometric view of the structural system in a Gothic Cathedral

• The Notre dame at Paris is widely
considered as one of the finest
examples of French gothic architecture.
• Its construction was commenced in the
year 1160 AD & went on till 1250 AD.
• It was one of the first buildings in the
world to use the flying buttress.
• The distinctive twin towers in the
western façade, the central wheel
window & the recessed pointed arch
entrances are characteristic of this
style.
style
• The frieze band of the statues of kings
of France above the entrance portals is
also typical of this style.
• The arrangement off 2 coupled windows
with a circular window above them, all
set within a larger pointed arch recess
can be seen in the 1st floor.
• The intercepting pointed arch arcade in
the 2nd floor is also a common feature
in French gothic churches.
• The French gothic style that lasted from 1150 to 1500 AD, AD
is divided into three phases as given below:
1. Primaire – 12th century period when lancet arches &
geometrical traceried windows were commonly used.
2. Secondaire – 13th century “ Rayonnant period”
characterized by circular windows with wheel tracery.
3. Tertiare – 14th & 15th century “Flamboyant” period, when
flame like window tracery was used.
• The plan of the Notre dame shows the central wide nave
with double aisles on either side with a bent axial line.
• The length is about 4 times the width & transepts are just
slight
li h projections.
j i In
I some other
h churches
h h transepts are
absent like the Bourges cathedral.
• The apsidal east end is developed into the “chevet” by
addition of processional aisles & chapels.
• Plain cylindrical shafts are combined to form columns &
piers that had capitals derived from the Corinthian order.
• The sexpartite vaulting compartments over the nave, the
flying buttresses on 3 side of the building and the recessed
entrances can be observed in the plan.
This view from the east shows the steeply pitched roofs with a central spire over the
crossing, the flying buttresses which were used to great effect around the apse
and the large clearstory windows that created the fantastic light effects inside.
• The façade treatment of the transept with wheel windows, spires etc can be seen
along with the flying buttresses & pinnacles that are features of the south elevation
Pinnacles add vertical force  Sexpartite vaulting over the nave
to counteract sideways 
thrust of the vaults

Cross vaulting over the triforium

The massive buttress that manages to bring 
the load vertically on to the ground

Vaulting above the aisles

• This cross section shows the system

of flying buttresses, piers &
pinnacles adopted at Notre dame to
counteract the sideways thrust of
the nave vaulting, the vaulting over
the triforium and the aisles.
• This picture shows the system of
flying buttresses and the clearstory
windows that are characteristic
features of the French gothic style.
• The roof above the triforium can
also be seen in the picture
• In this picture of the
side elevation of the
Notre dame, other than
the flying
y g buttresses,,
the large stained glass
windows that bring
light to the triforium &
the nave can be seen.
• The detail of the recessed entrance
portal shows the statue of Christ in the
p
column that divides the 2 doors along
with statues & relief sculptures in the
tympanum.
• This interior view of the nave clearly
shows the sexpartite vaulting above, the
cylindrical columns, arcading of pointed
arches & the stained glass clearstory
windows.
• This view of the interior of the apse shows
the elevated choir & the altar along with
the rib & panel vaulting above the apsidal
end. The coupled windows in the 1st floor
& the stained glass windows above them
can also be seen.
• The geometrical patterns of traceries in
the wheel window above the end wall of
the transept & the blue and violet stained
glass
l workk are typical
i l off “Primaire”
“P i i ” or the
h
early period of the French Gothic.
• This interior view of the crossing
of the nave &transept shows the
triple arcading in the triforium
gallery set within the larger
pointed arch
arch. It also shows the
detail of the clearstory windows
& the circular windows at the
crossing.
• This llongitudinal
Thi i di l section
i through
h h the
h nave
shows the ribs of the sexpartite vault, the
detail of all the windows & the arcading
alongg the nave in the gground floor and 1st
floor.
• This view of the Notre dame from across the river Seine shows why the building still
remains as a landmark in Paris. The vertical emphasis of the French gothic style can
be observed from the various parts such as spires, towers, steep roofs & flying
buttresses that satisfy the attempt to build a church that would soar up to the
heavens.
GOTHIC ARCHITECTURE IN ITALY
GOTHIC ARCHITECTURE IN ITALY
 ITALIAN GOTHIC ARCHITECTURE
Factors influencing Gothic architecture in Italy
•Geographical influences: Milan, located in the Lombard plains of northern Italy was influenced 
h l fl l l d h b d l f h l fl d
by the German gothic as contact with Germany via the Alps was established. Venice was an 
island state & was much influenced by Byzantine style due to trade by sea.
•Geological influences: The plains of north Italy produced fine quality brick & terracotta, while 
G l i l i fl Th l i f th It l d d fi lit b i k & t tt hil
central Italy adopted marble cladding in zebra patterns and south Italy was famous for 
multicolored marble such as the Sicilian marble.
•Climatic influences: Northern Italy has temperate climate similar to the rest of Europe & hence 
Cli ti i fl N th It l h t t li t i il t th t fE &h
its churches have typical gothic features such as large traceried windows & buttresses instead of 
walls. But the more sunny climate in central & southern Italy resulted in the churches having 
smaller windows & thicker walls to keep away the heat.
•Religious influences: The power of the Pope started declining from the 13th century onwards & 
resulted in the “Schism” which separated the Protestants from the Catholics. 
•Social influences: Italy was composed of many small city states such as the republics of Venice, 
•Social influences: Italy was composed of many small city states such as the republics of Venice
Florence, the duchy of Milan, the kingdom of Naples and the papal states. This lack of unity was 
reflected in the varied architectural treatment in the different parts of Italy. Civic pride & rivalry 
among cities led to the construction of large cathedrals.
•Historical influences: In spite of internal turmoil, Italy led Europe in Arts, Learning & trade and 
the revival known as the Renaissance took place nearly a century in advance of  the other 
countries. Venice reached the zenith of power & prosperity.
 ARCHITECTURAL CHARACTER (ITALIAN GOTHIC)
• In northern Italy Churches were usually built of brick masonry & clad with marble as can be seen in
the Milan cathedral. The Gothic style in Italy dates from 1200 – 1450 AD. The brickwork
&terracotta of the northern plains resulted in intricacy of ornament & detail.
• Planning: The desire for a great central space can be seen from the wide Nave at the cathedrals in
Milan & Florence. The triforium is omitted & the clearstory windows are reduced to circular
openings. The lofty arcades & vaults include the nave and aisle into one composition, giving the
effect of a single hall. The central tower with diminishing stages as at Milan are a development over
Romanesque lanterns.
lanterns
• Openings: Pointed arch arcades are supported by slender columns with Corinthian type of capitals.
Doorways are richly molded and flanked by half columns.
• Roofs: These are low pitched or flat to accommodate a walkway at the top. The steep gable end
walls
ll & elaborate
l b t facades
f d were adopted
d t d tot hide
hid the
th flat
fl t or low
l pitched
it h d roofs.
f
• Columns: Piers were formed usually of four pilasters combined back to back. The lofty circular
piers in the Milan cathedral with molded shafts & tabernacle capitals produce the effect of a
columnar interior.
• Ornamentation: Opaque wall decoration in fresco & mosaic was preferred to translucent stained
glass.
• In central & southern Italy, churches have flat roofs, screen walls in the western façade, circular
windows and absence of flying buttresses & pinnacles. However, in north Italy, it was reversed with
the roofline dissolving onto a maze of pinnacles, spires & flying buttresses.
•The Milan cathedral is one of the worlds largest churches, being second in size only to
St,Peters basilica, Rome. Built from the 14th to the 19th century, the interior height of its
central nave (45 m) is surpassed only by the Beauvais cathedral in France.
• The Milan cathedral was built in the German gothic style & can hold 40,000 people.
The cathedrals five wide naves divided by 40 pillars are reflected in the hierarchical
openings of the western façade.
• The Milan cathedral has the typical Latin cross
plan & has a nave 157m long
p g and 16.75 m wide.
• The nave is terminated in a semicircle of
columns, but they are enclosed in a polygonal
apse, in the German style. This apse contains no
l t l chapels.
lateral h l
• The transept itself is about 95m wide & it has
an octagonal tower at the crossing with a
domical vault designed by brunelleschi.
brunelleschi
• The exterior is a gleaming mass of white marble with lofty traceried windows,
paneled buttresses, flying buttresses, & pinnacles crowned with statues, all
combined in to a soaring design of lace-like intricacy.
• This interior of the Milan cathedral shows the lofty & imposing view of the nave with fine
perspectives, which is made more impressive by the dimness & mystery resulting from
lack of light.
• The absence of the triforium & the increased
height of the vaulting above the aisle that
has resulted in smaller clearstory windows
can be observed from this cross section of
the Milan cathedral.
• Even the outermost aisle rises to a height of
72’, which makes the entire interior into one
vast hall on a monumental scale with great
emphasis of the vertical axis.
• The famous Madonnina spire erected above
the central dome at a dizzying height of
107.5m has the famous gilded statue of
Madonna at the top.
This interior view of the nave shows the massive piers comprising of clustered columns
rising to a height of 60’, surmounted by elaborate capitals, forming the base for the
springing of the pointed arches, that finally culminate in cross vaulting at 145’ ht.
• The small clearstory windows that let in shafts of light into a predominantly somber &
dark interior create the lighting contrast that is required of a house of prayer.
• The under ground crypt that houses the tombs of various patron saints can also be seen
in this longitudinal section.
section
• The elevated domical roof above the crossing of the nave & transept that was designed
by Brunelleschi & the tall vertical pinnacles can be observed.
• This interior view from the crossing towards the entrance clearly shows the spatial effect
of one large columnar hall & the lighting effect achieved by the windows.
• This view of the outer aisle shows the chapels located along the side walls, as well as
the molded base of the pier. The stained glass windows above the chapels can be seen.
• This picture shows the detail of the
flying buttresses with the numerous tall
pinnacles crowned by the marble
statues of saints & gods.
• This composition dominated by point
elements such as the detailing above
the flying buttresses & the soaring
pinnacles is an overdone attempt at
emphasizing the vertical axis.
• The detailing of point elements over the flying buttresses & the treatment the of
the pinnacles displays the symbolism of the cross & other christian imagery,
• The roof is open to tourists which allows the visitors to appreciate the sculpture in the
pinnacles and in the madonnina’s spire, which is a baroque gilded bronze artwork . The
roof is covered with large marble slabs, which is flat at the top to provide the walkway.
• This view of the polygonal apse from outside clearly shows the large traceried windows
& the treatment of the corners as paneled buttresses. The intricate lace-like treatment
of the parapet wall also can be seen.
• The treatment
Th t t t off th
the walls
ll with
ith
vertical moldings that end in the
open arcade detailing at the
parapet
p p level,, with pinnacles
p of
the cross has a very strong
symbolism.
• The intricate detail of the
traceried apsidal window is done
in the Italian gothic style, with
wonderful carvings in the soffit
a so
also.
• This view of the ceiling shows the rib & panel cross vaulting over the nave at the left &
the vaulting over the aisles towards the right with intricate traceried patterns. The
lighting effect induced by the stained glass windows also can be seen.
• This interior view of the ceiling shows the dome vaulting with the stained glass windows
at the base, along with the cross vaulting over the nave & aisles. The lighting effect thus
achieved can also be observed.
• The central one of the five great doors that serves as the entrance is bordered with a
bas-relief of birds, fruits, beasts & insects, carved out of marble that they seem like
living creatures. It is surrounded by numerous figures in complex design.
• This photo shows the interior of the apsidal end of the cathedral with its large traceried
stained glass windows along with the vaulting scheme. The builders aim of bringing a
flood of light towards the apse is evident.
• An equilateral triangle drawn from
the bottom of the Madonnina’s
spire has the width of the church as
the other 2 points.
• A triangular grid drawn from the top
point of the nave vaulting clearly
shows how the springing of the
arches & the top of the vaulting
over the inner aisle and outer aisle
are all located on the grid points.
• Circles drawn with the triangular
grid point in the aisle as center,
connect the top of the dome over
the crossing with other end points
of the elevation.
• This elaborate system
y of
proportioning followed by the
architects reveal an attempt to
make the building as perfect as
p
possible.
Section of the Milan Cathedral showing
the system of proportions
• The Milan cathedral is considered as a wonder because though it is a vast building
of solid weight, it appears so light & airy that conveys an impression of delicacy as if
g vanish with a breath. This effect is mainlyy because of the intricate detailing
it might g
& the composition of predominantly vertical elements constructed in white marble,
which gives that slender image.
This is the view of the Doge’s palace from the south, across the lagoon. It served for
centuries as the home of the elected Doge & as center of government, with law courts,
senate, civil administration, prison etc. the building was started in the early 14th century &
was completed in the 16th century.
• The plan shows the lay out of the St.Marks square and the buildings around it like the
Doge’ss palace
Doge palace, St
St.Marks
Marks cathedral,
cathedral library & other public buildings.
buildings The canal from the
lagoon & the Bridge of sighs connecting the palace with the prison can also be seen. It
can also be observed that the Doge’ palace abuts the St.Marks on the east.
• This palace comprises of the residence of the Doge & other public offices arranged
around a courtyard. The GF houses the law offices, the chancellery & the naval offices.
The FF contained the residence, grand councils chamber & the ballot chamber. The SF
comprises of the ambassadors hall, inquisitors hall, & the senate. It is the evidence for
Venice being a great trading community whose commerce was protected by her navy.
• The façades
ç with a total length of 500’ approx. have open arcades in the lower 2 storeys
& the 3rd storey that was rebuilt after a fire is faced with white &rose colored marbles,
also having few large ornate windows. At the top there is a lace like parapet with
oriental cresting. It is one of the grandest efforts at civic architecture of the period.
• The second tier of arches with quadrilobes lends an appearance of strength to the open
arches so heavily loaded by the solid wall above. The capital of the columns is
remarkable for its delicate carving by the use of fine grained marble.
• This view of the loggia
gg in the
south façade shows the columns
with intricately carved capitals,
that are decorated with floral
motifs &animals.
&animals
• Other typical gothic features such
as the pointed arch cross vaulting
& the marble flooring pattern can
also be observed.
• This view of the courtyard shows gothic facades on 2 sides & renaissance façade on the
east side. The marble façade of the lower 2 floors contrasts well with the exposed brick
facade of the 2nd floor. The detailing of the windows & parapet are distinctive.
• The Bridge of sighs connects the Doge’s palace with the prison building on the right. It
was known as the bridge of sighs because the view of the bridge would be the last thing
that the prisoner saw from his window before execution.
• Scala dei giganti or the grand
staircase was a renaissance addition
in the courtyard, with the statues of
Neptune & Mars at the top of the
stairway.
• Th typical
The t i l renaissance
i façade
f d with
ith
some pointed arches scan be seen at
the back ground.
• Scala dei Oro or the golden
staircase has stucco decorations by
renowned artists of that time.
• The ceiling pattern & treatment are
baroque in character.
GOTHIC ARCHITECTURE IN ENGLAND
 Pinnacle

The Gothic walling system is a series of buttresses with large openings & hence,
hence very light
weight which is a total contrast to the thick Roman walling system with narrow openings.
The lateral thrust of the sexpartite rib & panel vault was taken up by the flying buttresses &
transferred to the ground with the help of the vertical thrust offered by the pinnacles.
 Evolution of English vaulting in the Gothic period

•Intermediate ribs known as “Tiercerons” were inserted between the transverse & diagonal
ribs. Ridge ribs were introduced to resist the thrust of the tiercerons.
•The plain quadripartite ribbed vault was used was used in the nave of churches such as
the Salisbury cathedral in the earlier period.
• Elaboration of the vaulting with more number of ribs is characteristic of this period.
More additional intermediate ribs were introduced as at the Exeter cathedral.
• “Lierne”
Lierne ribs (French, lien = tie or bond) were introduced. It is a term applied to any
rib other than the ridge rib that does not start from the springing of the vault.
Previously each rib marked a change in the surface of the vaulting surface. But lierne
ribs merely follow the curved surface of the panel & by their number and placement
often
ft gi
give an intricate
i t i t appearance to t an otherwise
th i simple
i l vault. lt
• The star shaped pattern thus produced is called stellar vaulting & examples of this
type are found in Bristol and Winchester cathedrals.
• The stellar vaulting
g , byy experimental
p stages
g evolved into the “Fan vaulting” g used in
the late 14th & early 15th century. In this type of vault the rising ribs are formed at
equal angles on the surface of an inverted concave cone. Hence all ribs are of equal
curvature & they are connected at different heights by horizontal lierne ribs.
• Evolution : In the 13th century,
century the vault followed the outline of an inverted concave
pyramid. In the 14 century, the introduction of more ribs resulted in polygonal
th

pyramids with ribs of different curves. In the 15th century, all ribs are of similar
curvature resulting in fan vaulting.
• Due to the increase in the number of ribs & decrease in the size of the panels
panels, ribs &
panels came to be made of the same piece of stone. Hence the ribs lost their
structural purpose. Examples: King college chapel, Cambridge & Henry VII chapel,
Westminster.
• The Westminster Abbey is a typical
example of the Early English Gothic
style.
• Although established as a Benedictine
monastery in the 11th century, it was
mainly built during the 13th, 14th &15th
centuries.
centuries
• The western façade in this picture was
built during the 18th century, but still
yp
has typicallyy Gothic features.
• It is one of the most important
buildings in England & has hosted
many coronation and funeral
ceremonies.
i
• The successive phases of the English
Gothic such as the Early English, the
Decorated the Perpendicular & the
Decorated,
Tudor have all found expressions in
various parts of this building.
• The typical lay out comprises of the Abbey church, the square cloister court surrounded
by open arcades that lead to the refectory, dormitory & octagonal chapter house. There
are also courts known as the deans yyard, along g with an infirmary,
y mills, workshops
p &
garden. The Henry VII chapel was an addition of the later period.
• The Abbey church is remarkable for its extreme length of the nave (511’) & has the
characteristic chevet at the apsidal end. It also houses many monuments & chapels.
• This northern entrance of the
Westminster abbey displays the
characteristic features of the Early
English period with a rose window
having traceries of geometrical
patterns, the typically French type
entrance & the spires.
• The eastern
Th t arm off the
th church
h h th thatt tterminates
i t iin a polygonal
l g l apse with
ith ambulatory
b l t &
cluster of surrounding chapels forming the only chevet in England. This picture shows
the chapel of Henry VII, which was built as an attachment to the east end. Externally
the treatment of pinnacles, flying buttresses etc are typically English.
• This view from the north transept clearly shows the elements of the side elevation like
the flying buttresses with their pinnacles, the tri-lobed windows on the 1st floor& the
detail of the clearstory windows and GF windows. It is built using the Caen stone
imported from France. The high molded plinth & the steep pitched roof are British.
• The cross section shows the triforium gallery above the aisles, the typically narrow
lancet arches used, & the complex system of flying buttresses. The steeply pitched
roof supported on wooden trusses can also be observed.
• Columns comprising of clusters
of slender cylindrical
y shafts
attached together add to the
emphasis on the vertical axis.
• The vaulting with intermediate
ribs
ib gives
i a distinctive
di ti ti character.
h t
• The very narrow lancet arches
used in the nave arcading also
contribute to producing the effect
of soaring upwards.
• This picture shows the type of decoration for the main shrine, with the vertical axis
being dominant. The Puerbeck marble used for the walls & the stained glass patterns
on the large windows can also be observed.
• The detail of vaulting over the
polygonal
p yg apse
p can be seen in
this picture.
• The treatment of the clearstory
window over the apse with twin
b
bays having
h i a circular
i l partt att
the top is also typically gothic.
• This view of the crossing of the north
transept & nave clearly shows the
lighting effect of the rose window &
other clearstory windows.
• The vaulting with intermediate ribs that
is typical of the Early English period can
also be seen on the left.
• As the building was constructed over
300 years, the sexpartite vaulting of the
early period can be seen on the right.
right
• This is the famous Fan vaulting over the
chapel of Henry VII & represents the
highpoint of English Gothic style.
• It contains the tomb of King Henry VII &
his queen.
• It also contains the chapel
p of the
Knights of the Bath with richly carved
canopied stalls.
• This fan vaulting of lace like tracery is really constructed on half concealed transverse
arches. A conoidal web is built up with the pendants as the center, with the traceried
arch across the nave connecting the center points.
• This diagram clearly shows the method of construction used in the fan vaulting of the
Henry VII chapel. The traceried pointed arches across the nave, the suspended
pendants that are actually voussoirs & the lay out of stone panels can be seen.
• The view of the interior of the Henry VII
chapel, looking towards the apse
clearly shows the large windows with
vertical
i l mullions
lli that
h are typical
i l off the
h
Perpendicular period.
• The use of the 4 centered arch & the
treatment of window openings with
rounded moldings are also
characteristic.
• This cross section of the
H
Henry VII chapel
h l shows
h
the intricate designs of
the arch across the nave
and also the flying
y g
buttresses.
• Even the treatment of
the pinnacles & spires
show
h th the di
distinctive
ti ti
English style.
• This aerial view of the Westminster Abbey from the North East shows the 2 towers in
the west, the north side entrance & a part of the Henry VII chapel.
collar
braces
 Hammer beam with strut Curved braces

•Collar braced roof is

•Aisle roof is one in one in which an
which a pointed arch is arched brace is taken
used as a truss up to the ridge with
no collars.

• The English developed various types of timber roofs, which culminated in the elaborate
Hammer beam variety in the 15th century.
• The trussed rafter roof: Each rafter had a collar , stiffened by braces & this type had
originated to accommodate the space needed for pointed vaults beneath.
• The Tie – beam roof: The rafters had a tie-beam at the lower end to counteract the
outward thrust. A central kingpost
gp & side struts were introduced to strengthen
g the
framework. Curved brace connect the tie-beam with vertical wall pieces.
• The Hammer beam roof: It consists of a series of trusses repeated at intervals & its
object is to transmit the weight & thrust to as low down possible in the supporting wall.
• Thomas Wolsey built The Hamptons court palace, which is considered to be the finest
palace in England from 1515 to 1521 AD. It was handed over to King Henry VIII, who
added the north & south wings. The eastern portion was pulled down and rebuilt by Sir
Christopher wren in Renaissance style. The old portion is constructed of red brick in
diaper pattern with octagonal turrets & battlemented parapets.
 •Hampton court palace is
built around 3 courts
known as the base court,
the clock court & the
fountain court.
•Henry VIII added the
north & south wings with
the chapel court.
•Sir Christopher wren built
the eastern part around the
fountain court.

•It is located on the banks of the

Th
Thames river
i & iis entered
t d
through the grand avenue of the
Bushley park.
•Hampton
Hampton court also has the
world famous hedge maze which
was planted over 60 acres of
riverside gardens.
•To enter through the trophy gate
on the west we have to pass
through a bridge over a moat.
 Battlemented parapets

Angled turrets

Chi
Chimneys

Medallions

• The main entry through the

Anne Boleyn gate has the tudor
arch with angled turrets &
terracotta medallions of roman
emperors.
• The chimneys, oriel windows &
battlemented parapets
constructed of exposed red brick
are proof of the pomp & glory of
bye gone ages.
• This gate provide the entrance to the clock court. Underneath the gateway steps lead to
the Great hall of Henry VIII, which measures 106’ X 40’ and 60’ high. This hall is famous
for the hammer beam roof & the oriel window that is the great feature in the exterior.
• This picture of the interior of the great hall shows clearly the double hammer beam
roof that has been used & also the oriel window that forms such an interesting
feature of the elevation. It is decorated with tapestries & furnishings fit for the royalty
& was used as a ballroom, banqueting hall etc.
• This view of the fountain court surrounded by cloisters shows Wren’s Renaissance
style work comprising of the state chambers. The various types of articulation of
windows in the various floors can be observed.
•To the east of the Great hall is the Watching chamber with its plastered ceiling of
polygonal patterns.
• Another view of the fountain court shows one side having G+1 floor & how the later
scheme in Renaissance style is made to complement the earlier scheme in Gothic
style.
• This interior view of the Queen
Mary’s bedroom shows the
trompe de oleil ceiling, the oak
paneled walls, the wall murals
& furnishings that define the
space for royalty.
• The eastern part built by Wren in the renaissance style also uses red brick, but is
complemented very well by the green gardens that surround it. The white framed
window openings also relieve the red brick masonry.
RENAISSANCE ARCHITECTURE IN ITALY, FRANCE & ENGLAND
RENAISSANCE ARCHITECTURE
Self portrait by Leonardo da Vinci
•The Renaissance movement began in Italy in the
fourteenth century and is a term that means rebirth.
• The Renaissance was a time of revival of artistic
achievement based on the Classical world.
world Fine arts
changed in that individual expression and worldly
experience became the two main themes of the era.
• The Renaissance period was triggered by
increasing sophistication of society,
society where economic
growth, educational pursuits, and political stability
were key factors.
• People began to thoroughly research the culture
of the antique
q world.
•The Renaissance also brought with it wealthy
patrons such as the Medic family of Florence, Pope
Leo X and Pope Julius II. These patrons helped to
push the limits of the Renaissance period in order to
create works of unsurpassable beauty and detail.
• Leonardo da Vinci represented the essence of the
Renaissance alongside Michelangelo and Rapheal.
These artists created works that were long
considered to be the classical notion of perfection.
perfection
Famous Renaissance architects include Palladio,
Brahmante and Brunelleschi. `
 Last supper by Leonardo da Vinci
Mention the Renaissance, and most of us will automatically think of the genius of
Brunelleschi, Michelangelo or Leonardo da Vinci. Indeed, for many, Leonardo is the
Renaissance the man himself synonymous with the idea of the polymath whose interests
Renaissance,
and knowledge know no bounds.
The term 'renaissance' or 'rebirth' was first used to describe the revival of classical forms in
the visual arts in mid-16th century Italy.
 The creation of Adam by Michelangelo at Sistine Chapel

The revival of the classical languages, particularly Greek, enabled the men and women of
the Renaissance to view and judge their own world through the lens of the classical past.
The desire to imitate that golden age led ultimately to a desire on the part of Renaissance
architects and artists to surpass the achievements of their ancient forbears. By stressing
the innate dignity of man and the value of secular wisdom, renaissance provided an
impetus for critical enquiry and innovation.
Equally important were the rediscovery of
classical texts concerned with the visual
arts. The most important of these was the
rediscovery in 1414 of the treatise On
Architecture by the Roman architect
Vitruvius, which laid down precise rules
governing the mathematical proportions
used in the construction of buildings.

Vitruvius drew parallels between these

proportions and those of the ideal human
figure, a concept famously illustrated by
Leonardo da Vinci in his drawing of
'Vitruvian Man'. Some Renaissance
architects
hit t were also
l aware off id
ideas
attributed to the mathematician
Pythagorus concerning the relationship
between musical harmonies and
proportional ratios.
Interior view of the frescoes & painted ceiling of the Sistine chapel by Michelangelo
 •These are parts of a
painting done by
Michelangelo known as
the “Judgement day”.
The self portrait is on
the right.
The invention of Printing in the early 15th century brought about a revival of learning &
promoted the spirit of enquiry. The Mariners compass led to the discovery of America by
Columbus, the Cape of good Hope by Diaz & Vasco da Gama found the route to India.
The invention of gun powder changed the method of warfare & led to the colonization of
many countries by the Europeans. Galileo by astronomical research, startled the world
by discovering that the Earth was just a planet in the solar system & not the center of
the universe as the popular perception was.
 ARCHITECTURAL CHARACTER OF THE RENAISSANCE STYLE

• The Renaissance movement, which began in Italy, early in the 15th century, was a break
in the continuous evolution of European architecture, starting from the Roman, to Early
christian & Byzantine, to the Romanesque and then to the Gothic.
• The Renaissance style places emphasis on symmetry, proportion, geometry & the
regularity of parts as done in the architecture of classical Greece & Rome.
Rome Orderly
arrangement of columns, pilasters, lintels etc, & the use of semi-circular arches,
hemispherical domes and niches replaced the irregular profiles of medieval buildings.
• The Classical Roman orders i.e. the Tuscan, Doric, Ionic, Corinthian & Composite were
standardized
d di d b by Renaissance
R i architects
hi like
lik Palladio,
P ll di Scamozzi
S i etc. & were
reintroduced both structurally and decoratively in construction after a period of 1000 yrs
• Renaissance architecture, instead of being the outcome of traditional methods, now
became the studied p product of individual architects, who with their pupils
p p formed
schools of design.
• Renaissance architects relied on conscious treatment of wall surfaces with rusticated &
Ashlar masonry as an architectural motif as can be seen in buildings such as the
Riccardi & Strozzi palaces.
• Though they adopted the Byzantine treatment of domes over square compartments,
they raised the height of the drum & decorated it with windows and columns to make
them the most dominating feature, externally.
• Th pointed
The i d arch h that
h was considered
id d as gothic hi was discarded
di d d in
i favor
f off the
h semi-i
circular roman arch. Gothic ribbed vaulting also gave place to roman semicircular vaults
& cross vaults. Cross vaults of unequal span, but equal height had the larger vault
formed as an ellipse.
 BAROQUE & ROCCOCO STYLE

• Baroque architecture started in the early 17th century in Italy, mainly as a reaction to the
curb of artistic freedom that the rules of the renaissance style imposed. It took the
Roman vocabulary of renaissance architecture and used it in a new theatrical &
sculptural fashion expressing the triumph of the church & the state.
• New architectural concerns for color, light & shade, sculptural values and intensity
characterize the Baroque. It was a break away from orthodoxy in plan, design &
treatment. It was expressed in sinuous frontages, overdone decoration, twisted shaft
columns, curved pediments & flying figures.
• Th B
The Baroque stylel was a visible
i ibl statement off the
h wealth
l h & power off the
h Church.
Ch h It I
manifested itself in the context of new religious orders like the Jesuits & Theatines. It
also found expression in secular architecture in the form of grand palaces.
• Michelangelo’s later buildings, particularly St.Peter’s basilica is considered to be the
forerunner of Baroque architecture
architecture. Long narrow naves in churches were replaced by
broader naves & occasionally circular forms.
• Dramatic use of light with strong light & shade contrast was a typical baroque
technique. Ornamentation with stucco, marble finish & gilded wood was also common.
• Large scale frescoes on the ceiling adorn the interior & illusory effects like the trompe
l’oeil and the blending of sculpture & painting were also commonly used.
• Roccoco is a style of 18th century French interior design, where rooms are designed as
total works of art with elegant & ornate furniture, small sculptures, ornamental mirrors
& tapestry that complements the relief & wall paintings.
paintings
• Roccoco developed first in the decorative arts & interior design. It spread to Germany,
Austria & Italy, where architects draped their interiors in clouds of white, fluffy stucco.
ITALIAN RENAISSANCE ARCHITECTURE
ITALIAN RENAISSANCE
FACTORS INFLUENCING ARCHITECTURE:
•Geographical:
G hi l Renaissance
R i style
l was first
fi developed
d l d in
i Florence
Fl by
b Brunellschi.
B ll hi
Subsequently, Rome & Venice, along with Florence became the three cities where the
Renaissance style flourished.
•Geological: The quarries of Tuscany provided marble of high quality to Florence
Florence, where as
Rome had enormous supplies of travertine stone from the adjoining hills. Since Venice was
a major port, most of the building materials were transported from other places by sea.
•Climatic: The sunny & bright climate of Florence resulted in the “cortile” & the sheltering
colonnade. The absence of snowfall led to the low pitched roof that lent itself to cornice &
balustrade. In Venice, the heat of summer is tempered by sea breezes & therefore
balconies & belvederes were common features of buildings.
•Religious:
R ligi The
Th return
t off the
th Pope
P from
f Avignon
A ig made
d Rome
R the
th center
t off christian
h i ti
spirituality, which led to a boom in church building activity. The rebuilding of St.Peters & the
construction of Sistine chapel were the climax of this phase.
•Social:
Social: Architecture was patronized by the Medici family in Florence & the guilds of craft
played a vital role in the development of the renaissance style. Rome was the home of
classic traditions & splendid churches and palaces were constructed by painters such as
Michelangelo, Raphael etc.
•Historical: In the 15th century, Florence & Venice extended their power to much of the
surrounding regions, making the movement of artists possible. The ambitious Pope Julius II
wanted to extend the papal power throughout Italy & constructed the greatest cathedral.
 PRINCIPAL PHASES
• Renaissance in Italy is divided by historians into three phases:
• 1. Early
a y renaissance
e a ssa ce (Quatrocento)
(Quat oce to) includes
c udes tthe
e works
o so of Brunelleschi
u e esc & Michelozzo.
c e o o The e
concepts of architectural orders were explored, rules were formulated & classical detail
& ornamentation was adopted. Space was organized by proportional logic & its form
was subject to geometry. Ex. Basilica Santa Maria del Fiore, Florence by Brunelleschi.
• 2. High renaissance : During this time, classical concepts were developed & used with
confidence. Architects such as Bramante, & Sangallo expanded the applicability of
classical architecture to contemporary buildings. Bramante’s San Pietro was directly inspired by
circular roman temples.
3. Mannerism: During the Mannerist period
3 period, architects experimented with using forms to emphasize
solid & spatial relationships. The renaissance ideal of harmony gave way to freer & more imaginative
rhythms. Michelangelo is credited with inventing the Giant order,
which is a pilaster that stretches from the bottom to the top of the façade. The other notable architect
was Palladio
Palladio, who discovered the ‘Palladian motif’.
motif’
 ARCHITECTURAL CHARACTER – ITALIAN RENAISSANCE

• Plans: Renaissance buildings have a square, symmetrical appearance in which

proportions are based on a module. In a church the module is the width of an aisle.
The typical palace was built around a central court surrounded by an arcade, which
supported the walls of the upper storeys.
• Facades: are symmetrical around the vertical axis. Church facades are capped by a
pediment & organized by a system of pilasters, arches & entablatures. Columns &
windows get larger as we move to the center. Palaces & domestic buildings are
surmounted by a cornice. There is a repetition of openings in each floor & the central
door is emphasized by a balcony or rusticated surround.
• Columns & Pilasters: The roman orders of Tuscan,
Tuscan Doric,
Doric Ionic,
Ionic Corinthian & Composite
were used, either structurally as supporting an arcade / architrave or decoratively in
the form of pilasters set against a wall.
• Arches: are semicircular or segmental in the mannerist style. Arches were used in
arcades supported on piers or columns with capitals. Sometimes a section of the
entablature was introduced in between the capitals & the springing of the arch.
arch
• Vaults: do not have ribs. They are semi-circular or segmental on a square plan. Barrel
vaults & cross vaults were frequently used.
• Dome: is used as a large structural feature that is visible from the exterior & was an
indispensable
p element of church architecture.
• Ceilings: are flat or coffered. They are also frequently painted or decorated.
• Walls: are generally in Ashlar masonry with the corners emphasized by rusticated
quoins. Lower floors were often rusticated. Internal walls were decorated with frescoes
• Doors & windows: Doors may be set within an arch or capped by a pediment. Windows
may be
b paired
i d & sett within
ithi a semi-circular
i i l arch h or surmounted
t d by
b triangular
t i g l or square
pediments, used alternatively.
PALAZZO RICCARDI

Designed by Michelozzo for the Medici family, 
the palace was built in 1444 to1460
It is renowned for its rusticated stone 
masonry in the GF, drafted stone masonry in 
the FF & Ashlar masonry in the 2nd floor.
The tripartite division of the elevation is 
achieved by horizontal string courses, that 
divide the building into storeys of decreasing 
height.
The projecting cornice, with its elaborate 
detailing serves as a suitable crown to the 
building.
This palace stands as an example of the 
renaissance spirit of rationality, order, 
proportion & the use of human scale.
 225’

OPEN COURT

Magi chapel

190’

CORTILE

•The plan has a Cortile surrounded by an open colonnade which is cross vaulted that leads
to the various rooms. The use of spiral staircase can be observed. The grand staircase that
leads to the “Piano nobile” in the upper floor & the narrow entrance vestibule that leads the
Cortile also can be seen. It also contains the Magi chapel used for worship. There is a
service entrance to the open court at the rear.
The interior view of the cortile shows the open arcade of semicircular arches supported on 
composite columns with an entablature of brass medallions connected by festoons on top.
The view of the open court in the rear part of the palace shows the landscape scheme. 
Moreover, the complete break away from the traditions of the middle ages can also be 
seen in the treatment of windows & doors.
The entrance door is emphasized with stone voussoirs 
The coupled  arch windows of the upper floors are set 
within an arched opening. The bold cornice projects by 
over 8’ & has dentils and horizontal moldings. 
St. Peters basilica in Rome, considered as the most important building of this period is the 
outcome of the works of many architects under the direction of many popes during a period of 
120 years starting from 1506 AD, when the foundation stone was laid.
• Bramante’s design was selected after a competition & it was planned as a Greek cross
with the dome similar to the Pantheon, but having a peristyle around the drum & a
lantern at the top. On the death of Pope Julius II, Bramante was superceded by Raphael
• Raphael proposed a Latin cross plan,
plan but he died subsequently & Peruzzi,
Peruzzi who was
appointed as the architect, reverted to the Greek cross plan.
• Later on, in 1536, Sangallo submitted a slightly altered plan with an extended vestibule,
lofty campanile & an elaborate central dome.
• After his death 10 yrs later, Michelangelo succeeded him & the present building owes
most of its outstanding features to his genius. He reverted to a Greek cross plan
strengthened the piers & redesigned the surrounding chapels & apses.
• In !564 Vignola added the side cupolas, but subsequent to this, Maderna lengthened
the nave to form the Latin cross & added the gigantic facade. Finally in 1667, Bernini
erected the elliptical colonnade with 284 columns that defines the St.Peters square.
• The diagram on the left shows the
complete lay out of the St.Peter
St Peter’ss basilica
& the Vatican, which is the residence of
the Pope & it covers 5.7 acres.
• The photo above shows the St. Peter’s
square, about
b t 650’ wide
id that
th t serves as
the entrance piazza, enclosed by the
elliptical colonnade in Baroque style.
• The cathedral, Piazza & the Vatican form
a world famous group of buildings,
colossal in scale & containing the tomb of
St.Peter, the apostle of Christ.
The nave is roofed by barrel 
vault that is coffered, gilded 
& frescoed about 150’ 
& frescoed, about 150
above the floor. The 4 piers 
that uphold the dome are 
60’ square, with the dome 
itself rising to 335’ ht

The plan is a Latin cross with a length of 600’ & width of 
450’ internally. Externally inclusive of the portico, the 
length is 700’. The nave is 84’ wide with 4 bays. The 
entrance portico, 234’ X 43
entrance portico, 234 X 43’‐6”
6  extends the whole width of 
extends the whole width of
the church. The nave is flanked by piers having gigantic 
order of Corinthian pilasters that are 83’ high, supporting 
an entablature of 20’ height.
• The exterior,
exterior built of travertine stone,
stone has a monumental order of Corinthian columns
& pilasters of 91’high & 9’ in dia, supporting an entablature of 20’ height, carried
around the entire building. Above this is an attic & balustrade of 38’-6” height. As the
columns stand on a podium of 18’ ht the total height of the façade is 167’-3”.
The immense scale of the Corinthian columns, entrance portals, & windows can be seen
on the left. The Corinthian pilasters & entablature in the façade is seen on the right.
• This is the view of the nave, looking
towards the altar, with its massive
piers coffered & gilded ceiling and
piers,
Italian marble flooring.
• The base of the dome above the
crossing of the nave & transept can
also be seen.
• This is another view of the nave after entering the basilica showing the vaulting & dome
over the aisles. The treatment of the piers with niches having statues also can be seen.
• The crossing is covered by a stupendous dome, 137’-6” in internal diameter with a ring
of windows around the base of the dome. The frescoed treatment of the interior of the
dome & the groins also can be observed.
 CROSS SECTION THRO
THRO’ THE NAVE

• The elevation diagram shows the essential features of the composition such as the
portico
ti with ith 8 columns,
l the
th attic
tti floor
fl above,
b the
th cupolas
l etc.t with
ith the
th dome
d dominating
d i ti
the entire conception.
• The section on the right gives an idea of the monumental scale adopted with plinth
itself rising to18
to18’, the aisle vaulting rising to about 90
90’ ht
ht, the nave vaulting going up to
150’& the dome itself soaring to 394’ ht with the lantern above it.
• The double dome is built of brick, has an internal diameter of 137’-6” & rises to height
of 394
394’.. Since cracks appeared in the dome in the 18th century 4 iron chains were
installed in between the two shells to bind them & prevent them from bursting outward.
• The dome is not a hemisphere, but a paraboloid. The bold ribbing in the exterior springs
from the paired Corinthian columns at the drum that take the thrust of the dome.
• The great dome equals the Pantheon in diameter, but instead of resting on a continuous
circular wall, it rests on 4 massive piers, at a height of 250’. No less than 10 iron chains
have been inserted at different times to prevent the dome from splitting.
The interior view of the dome is ethereal with the bluish light emanating from it contrasting
with the warm colors of the frescoes in the groins & the gilded treatment of the arches.
• This baldachino with twisted columns was designed by Bernini & is placed above the
crypt where the tomb of St.Peter is buried, just below the central dome. The vaulted
ceiling & gilded lettering in a horizontal band can also be seen.
The views of the apse with Peters chair
& gilded ceiling above with the focal
point of the altar can be seen.
The colonnade has 4 Tuscan columns
along its breadth supporting an ionic
entablature, that appears to embrace
the faithful.
The top of the façade contains the statues
of Christ & 11 apostles.
• The apsidal end of the transept can be seen on the left, with gigantic Corinthian
pilasters. The detailing of the windows, corner pilasters & attic also can be seen.
• The fantastic light effects produced by the windows at the base of the dome were
inspired by the dome of St.Sophia. But the frescoes & the lantern at the top is original.
• This painting by Pannini shows how the interior was conceived during the building of the
Basilica in the 16th century. The mastery over perspective, scale & detailing is evident. It
proves Michelangelo’s famous words that ‘God thrives in detailing”.
• Villa Capra,
Capra also known as La Rotunda is a renaissance villa in northern Italy,
Italy designed
by Palladio. The design was inspired by the Pantheon, in Rome. Although commissioned
by a retired Vatican priest, it became one of the most inspirational architectural
prototypes for the next 500 years. Palladio himself designed 20 such villas in Italy.
• Built on a hilltop in 1566
1566, the villa was designed to be in perfect harmony with the landscape.
landscape
It has porticoes on all sides, from which views of the surrounding countryside can be enjoyed.
Though symmetrical in plan, there are variations in the width of steps, retaining wall etc, that
allows for the asymmetry of the existing landscape.
• In plan, the Villa Capra is symmetrical, with
the basic arrangement of rooms being
achieved by the intersection of a square
with a cross & a circle.
• Each of the 4 facades has a portico that
leads through a corridor to the circular,
domed, central hall.
• All the rooms have been proportioned with
mathematical precision as set out in his
book titled “ Quatro Libri dell’ Architettura”.
• The design was so successful that it has
often been copied in England, USA & Europe.
• In order for each room to have some sun,sun
the design was rotated 45 deg. from the
cardinal points of the compass.
• All principal rooms were in the 2nd floor, or
the piano nobile.
nobile
• Though it is a hemispherical dome, it
appears saucer shaped from outside due to
the sloped roof that surrounds its base &
conceals it.
• The interior design of the villa was done
by Baroque artists, who painted the
walls with frescoes in the principal
salons. The highlight is the circular hall
with walls done in trompe I’oeil & the
dome soaring above to the cupola.
The ppictures on the left are exterior
views of the Villa – they help us to
understand the massing & the
features of the architectural
composition On the right we can see
composition.
the treatment of the ceiling with
ornamental moldings & fresco
paintings.
RENAISSANCE ARCHITECTURE IN FRANCE
RENAISSANCE ARCHITECTURE IN FRANCE
 FRENCH RENAISSANCE ARCHITECTURE
• Geographical: France had been united into a kingdom with Paris as the capital &
hence the renaissance movement spread from here to all parts of France. Due to
proximity of France to Italy, the renaissance spread to France just 50 years later than
when it was started in Italy.
y
• Geological: Since good building stone is available throughout France, Paris is
considered to be a city of stone, just as London is considered to be a city of brick.
• Climatic: influence can be seen in the large windows, high pitched roofs & lofty
chimneys that differentiates French renaissance from Italy, the land of its birth.
• Religious: The supply of Gothic churches proved adequate for the population & hence
few churches were built during the 15th century. In the 16th century, it was the order
of the Jesuits that built great churches for preaching to large congregations.
• Social: Paris attained eminence in art & literature and this resulted in the adoption
of one national architectural style that emanated from the Parisian schools.
Chateaux of kings & courtiers were built by the influence of Italians such as
Leonardo da Vinci, Serlio etc. Louis XIV was a great patron of the later renaissance in
France & the palaces of Louvre and Versailles are monuments to his lavish
expenditure
dit on architecture
hit t & th
the d
decorative
ti arts.
t
• Historical: The main factor that resulted in the unification of France was the
expulsion of the English in 1453 by Joan of Arc. The new national feeling gave great
impetus to architecture & resulted in the building of many fine monuments. French
renaissance extends from the invasion of Italy in 1494 to the death of Henry IV in
1610. In waging wars with Italy, French kings were brought in contact with the
renaissance style & adopted the same.
 FRENCH RENAISSANCE – ARCHITECTURAL CHARECTER
• The Renaissance style in France may be divided into 3 periods :
• The Early period ( about 100 yrs starting from late 15th century) – The special
character of this transitional phase was that gothic & Renaissance features were
combined to form interesting compositions. Ex. Chateaux built around the Parisian
countryside.

• The Classical Period ( end of 16th to early 17th century) –In this period of remarkable
architectural activity developed a dignified style marked by the free use of the orders
& profuse
f ornamentation
i off the
h iinteriors
i carried
i d out in
i stucco & paper mache.h Ex.
E
The Louvre palace. The Baroque style in France started with Louis XIV is remarkable
for its freedom of treatment in interiors & grand scale.

• The Late Period (18th century) – This period is marked by the Rococo style of
decoration followed by the successors of the sun king. Ex. The palace of Versailles,
where even furniture was designed in harmony with the interior décor of the room.
This lavish style is distinguished by its use of mirrors, gilded & frescoed ceiling and
large planned gardens.

• After Serlio designed the Chateau de Fontainebleau, the school of Fontainebleau,

trained architects such as Vignola & Lescot, who played a pivotal role in the
development of French renaissance architecture.
•The
Th royall chateau
h t att Ch
Chambord
b d iis th
the llargest
g t castle
tl iin th
the LLoire
i valley
ll & was bbuilt
ilt as a
hunting lodge for king Francois I. This massive castle is composed of a central keep with 4
bastions towers at the corners.
This p
picture of the front elevation of the chateau shows the twin bastions of the keep p at the
center & its complex skyline of conical roofs, dormer windows, lofty chimneys & spires.
• Designed by Pierre Nepveu, the plan is unusual & comprises of 2 rectangles, one within
the other, but the façade of the smaller one is in line with that of the outer court, thus
th castle
the tl protects
t t th
the palace
l on th
three sides,
id whereas
h a moatt protects
t t it on ththe ffourth
th
side. The inner block known as the “Donjon” is about 220’ square & is similar to the
keep of an English castle. It has 4 lofty halls in each floor finished by elliptical barrel
vaulting. At the junction is the famous double helix staircase.
• The chateau has 440 rooms
rooms, 365 fireplaces & 84 staircases
staircases. It was never intended to
provide any form of defense from enemies – the walls, towers, the partial moat are
purely decorative. Many elements such as the loggia, the open space at the top were
borrowed from the Italian renaissance style & do not suit the colder climate of France.
• It is claimed that this double helical
staircase was conceived by
Leonardo da Vinci.
• The two helixes ascend the 3 floors
without ever meeting & they are
illuminated from above by a sort of
light house
h att the
th highest
high t point
i t off
the castle.
• This double helix staircase by which
people can ascend & descend
simultaneously without seeing each
other is built up in a cage of stone
& crowned with a lantern.
• The roofscape of Chambord has often been compared to the skyline of a town. It shows
11 kind
ki d off towers
t &3 types
t off chimneys,
hi framed
f d att the
th corners by
b massive
i towers.
t
• The high pitched roof with ornate dormer windows & lofty chimneys combine to produce
a vertical gothic effect, but with renaissance detailing.
• When king Francois I commissioned the construction of the chateau
chateau, he wanted it to
look like the skyline of Constantinople.
• The castle also features 128m of façade, more than 800 sculpted columns & an
elaborately decorated roof. This is the view of the Chateau from across the moat.
This view of the spiral
p staircase in the corner
of the courtyard side of the building shows
the supporting pillars, the domical roof & the
lantern type finial at the top.
Other details such as the dormer windows,
windows
located on steeply pitched roofs can be seen
• This aerial view of the Chateau clearly shows the arrangement of the various parts of
the building. The castle is surrounded by 13000 acres of wooded park & game
reserve, enclosed by a 20 mile length wall.
• The Louvre palace, Paris presently accommodates the Louvre museum which is the
largest, most visited & famous museum in the world. It occupies an area of 45 acres &
was constructed by many kings from 1546 to 1878 AD. Hence it exhibits the
progressive stages of the French renaissance architecture built in successive periods.
 Turgot

• After the demolition of the Castle existing on the site, Architect Lescot started building
the left side of the renaissance palace in 1546. Henry IV built the Grand gallery along
the river Seine. Louis XIII completed the Denon wing started by Catherine medici & also
built the Richlieu wing. Le Mercier built the Horloge pavilion, around a courtyard of 400’
square. Louis XIV the built the north, east & south parts of the central courtyard.
• The Horloge pavilion in the center of the scheme, designed by Le Mercier is a fine
composition derived from the high towers of the medieval period & set the keynote for
subsequently built pavilions like Turgot & Richlieu.
Richlieu The elliptical arches on the top floor
set among the vaulted roofing is typical of the French renaissance style.
• The glass pyramid in the center of the courtyard is a part of the addition to the
museum that stretches to 3 floors below the central courtyard & was designed by the
famous architect Pei in the 20th century.
• The north & south wings enclosing the court show the vaulted Denon pavilion & the
Richlieu pavilion on either side if the pyramid. The arcaded passage in the ground floor
is also characteristic of renaissance architecture.
• The 1st floor windows are capped by triangular pediments. The dormer chimneys can
be seen in the roof. The roof of the end pavilion (Turgot) is in the form of a truncated
pyramid.
• This view from the Louvre court
clearly shows the later day Baroque
style with cornices having moldings
& festoons, segmental arched
openings set within semi-circular
arches & the oval shaped arches in
the top floor.
• This view of the eastern wing from outside was designed by architect Perrault is 600’ in
length & consists of a solid looking basement which supports a colonnade of coupled
Corinthian columns. The central portion is emphasized with a pediment & the wings are
accentuated by a simple block & opening treatment.
• The Horloge pavilion shown on the left shows the pilasters
pilasters, cornices,
cornices arched windows,
windows
circular openings, capped by a pediment that fronts the domical roof & finial.
• The Richelieu pavilion on the right also displays Baroque features with elaborate relief
sculptures & intricate moldings.
RENAISSANCE ARCHITECTURE IN ENGLAND
RENAISSANCE ARCHITECTURE IN ENGLAND
 ENGLISH RENAISSANCE ARCHITECTURE

• Renaissance architecture arrived in England during the reign of Elizabeth I, through

the Netherlands, where it acquired versions of the Dutch gable, and Flemish strap work
in geometric designs adorning the walls. The new style tended to manifest itself in large
square tall houses such as Hardwick hall.

• The first great exponent of Renaissance architecture in England was Inigo Jones
(1573–1652), who had studied architecture in Italy under the influence of Palladio. Jones
returned to England full of enthusiasm for the new movement and immediately began to
design such buildings as the Queen's House at Greenwich in 1616 and the Banqueting
House at Whitehall three years later.
later These works,
works with their clean lines,
lines and symmetry
were revolutionary in a country still obsessed with mullion windows, crenellations and
turrets.

English renaissance architecture may be divided as follows:

Early Renaissance ----- Elizabethan (1558 – 1603) & Jacobean (1603 – 1625)

Late Renaissance ------ Anglo-Classic (1625 – 1702) & Georgian (1702 – 1830)
 Hardwick hall
• Elizabethan
Eli b th architecture:
hit t Renaissance
R i first
fi t arrived
i d iin England
E gl d during
d i g the
th reign
ig off
Elizabeth I & it followed the Tudor architecture of the earlier period, succeeded by the
Palladian architecture of Inigo Jones during the 17th century. The style manifests itself
g square, tall houses having
in large, g symmetrical
y towers. The towers are in the shape of the
letter “E” for Elizabeth. Externally, towers, parapets & chimneys produced an effective
skyline, while the walls had mullioned French windows & oriels. These mansions were set
among formal gardens with forecourts, lakes & fountains.
 Bromwich hall
Bromwich hall
• Jacobean architecture: was named after King James I, this period was marked by the
adoption of classic columns & entablatures. Although the general rules of the
y remained,, there was a consistent & unified application
Elizabethan style pp of formal
design, both in plan & elevation. Much use was made of columns & pilasters, round
arch arcades & flat roofs with open parapets. Along with these, rustications, ornamental
details such as scrolls & straps were mixed.
 Cheswick House Queens house
• Anglo-Classic architecture: Inigo Jones & Christopher wren are the 2 great architects of
this period. Palladianism is design philosophy based on the writings & work of Andreas
Palladio, an Italian architect, who himself tried to revive Vitruvian principles. Inigo Jones
was first responsible for popularizing this in England. Ex. Queens house & the Banqueting
house He was followed by Robert Adam in the later period
house. period, who redefined Palladianism
with Neo-classism.
• Sir Christopher Wren was influenced by Bernini & Mansard in Paris. The great fire of
London offered Wren a grand opportunity & he became the architect of rebuilding St.Pauls
Cathedral His buildings
Cathedral. b ildings owe
o e much
m ch of their character to the usese of Portland stone & were
ere
remarkable for restrained use of ornamentation with telling effect. He also designed the
palaces at Hampton court & Greenwich.
Georgian Architecture:
This refers to the period of architecture in England from 1714 to 1820 AD that comprises of
the reign of King George I to George IV. James Gibb & Robert Adam were the eminent
architects of this period. Georgian architecture is characterized by its proportion and
b l
balance; simple
i l mathematical
th ti l ratios
ti were used d to
t determine
d t i the
th height
h i ht off a window
i d i
in
relation to its width or the shape of a room as a double cube. Georgian designs usually lay
within the Classical orders of architecture and employed a decorative vocabulary derived
from ancient Rome or Greece. The most common buildingg materials used are brick or stone.
Commonly used colors were red, tan, or white.
Georgian houses mainly feature a hipped roof, chimney on both sides of the home,
a stone parapet surrounding the roof, a portico in the middle of the roof with a ring window
in the middle 6 paned sash windows in the upper floors for servant's quarters & larger
 ST.PAULS CATHEDRAL, LONDON

Widely regarded as Sir Christopher Wren
Widely regarded as Sir Christopher Wren’ss masterpiece, St.Pauls is one of the finest 
masterpiece, St.Pauls is one of the finest
renaissance cathedral in Europe. Wrens first design for the cathedral was a greek cross in 
plan, which was rejected by the clergy who desired a longer nave & choir for 
accommodating the rituals. The cathedral is built of Portland stone in a late Renaissance 
style. Its impressive dome was inspired by St Peter's Basilica in Rome. It rises 365 feet (108 
t l It i i d i i d b St P t ' B ili i R It i 365 f t (108
metres) to the cross at its summit, making it a famous London landmark. The present 
building dates from the 17th century, and is generally reckoned to be London's fifth St Paul's 
Cathedral.
The latin cross plan that was adopted 
fi ll h
finally has an interior length of 460’ & 
i i l h f 460’ &
breadth of 100’, inclusive of the aisles. 
The total area is about 64000 sq.ft. 
The plan consists of a great central space 
at the crossing of the nave & the transept, 
h i f h & h
which is crowned by a dome.
North & south transepts have semi 
circular porticoes, while on the west is 
th
the projecting lobby. The western bay of 
j ti l bb Th t b f
the nave is square in plan & is flanked by 
projecting chapels.
The piers of the nave have corinthian
pilasters supporting the entablature & the 
il t ti th t bl t & th
attic. The nave is crowned by a series of 
saucer shaped domes at a height of 90’. 
The dome is carried on 8 piers and is 112’ 
i di at the base of the drum & 
in dia t th b f th d &
diminishing to 102’ at the top of the 
drum. There is a walkway around the 
base of the drum known as the 
whispering gallery.
The cathedral also houses the 
monument to the Duke of 
Wellington
Dome detail showing the Peristyle corridor  Detail of the lantern at the 
at the base of the drum top of the dome
Wren built 3 domes to achieve a pleasing effect. The inner dome is built of brick, about 18” thick &
provides the ceiling for the interior. The intermediate dome is structural & in the form of a cone
also constructed with brickwork and supporting the lantern at the top & the framework for the
outer dome. The outer dome is constructed of timber & is covered with lead. Eight opening are
located at the top of the outer dome to admit light to the inner cone
cone. The drum holds three circular
galleries – the internal Whispering Gallery, the external golden Gallery, and the external stone
gallery at the upper level. A whisper against its wall at any point is audible to a listener with their
ear held to the wall at any other point around the gallery .
 Entrance façade of 
St.Pauls

The exterior of St. Pauls is considered to be a noble composition, with all the parts relating
effectively with the central dome. The façade has 2 orders with the lower corinthian & the upper
composite rising to a height of 107’-8”. The aisles are only one storey high, so that a screen wall is
raised above them to give dignity to the elevation. The entrance façade is 180’ wide & is
approached by a broad flight of steps.
steps The central 2 storied portico of coupled columns supports a
triangular pediment. The portico is flanked by 2 well proportioned towers, with the left one
containing the bells & the right one the clock. The dome sits on a colonnaded drum & is crowned
with the lantern, ball and cross rising to a height of 366’.
 View of the south transept 
(above) & the interior
The interior is a harmonious composition of semicircular arches, vaults & domes, even though the
massive piers give it a look of solidity & strength. Lighting has been well manipulated to achieve
the lighting contrasts that a house of prayer requires. The wooden paneling that emphasize the
lines of the arches & domes and the wooden coffered ceiling give an English character. The
detailing of the corner towers is very interesting for the shape of its plan & the gradually tapering
composition of the pinnacle. St. Paul's is widely regarded as the greatest piece of English
renaissance architecture.
 BANQUETING HOUSE, LONDON

Plan of the Whitehall Palace of which the 
Banqueting house is a part done by Inigo Jones
Formerly a part of the Palace of Whitehall, it was built by Inigo jones in 1619 AD. Inside the
building there is a double floor banqueting hall decorated with paintings done by Paul Reubens. It
introduced the Italian renaissance style to England. The exterior has a rusticated basement with
Ionic columns in the GF & Corinthian columns in the FF. The balustraded parapet wall & flat roof
was something very different in Jacobean England. The Banqueting House was probably planned as
part of a grand new Palace of Whitehall but the unsettled times put an end to the scheme. It was
the first building in England to use crown glass in its windows. The pilasters & columns support a
bold projecting cornice that is typical of this style. The windows are emphasized by triangular &
segmental pediments in the GF & by sunshades with brackets on the FF.
COMPARITIVE ANALYSIS OF GOTHIC & RENAISSANCE ARCHITECTURE
 BIBLIOGRAPHY

Books
• 1. A World History of Architecture  by Michael Fazio (Author), Marian Moffett (Author), Lawrence Wodehouse
• 2. A Global History of Architecture  by Mark M. Jarzombek (Author), Vikramaditya Prakash (Author), Francis D. K. Ching ( Editor)
• 3. A History of Western Architecture by David Watkin
• 4. Banister Fletcher's A History of Architecture by Dan Cruickshank
• 5 The History of Architecture: Settings and Rituals by The late Spiro Kostof, Greg Castillo and Richard Tobias 
5. Th Hi t f A hit t S tti d Rit l b Th l t S i K t f G C till d Ri h d T bi
• 6. A Text‐Book of the History of Architecture Seventh Edition, revised by A. D. F. (Alfred Dwight Foster) Hamlin 
• 7. Travels in the History of Architecture by Robert Harbison
• 8. The Classical Language of Architecture (World of Art) by John Summerson

Weblinks
• 1. http://en.wikipedia.org/wiki/History_of_architecture
• 2 h //
2. http://www.bc.edu/content/bc/sites/artweb/architecture.html
b d / /b / i / b/ hi h l
• 3. http://eng.archinform.net/index.htm
• 4. http://www.greatbuildings.com/
• 5. http://www.bluffton.edu/~sullivanm/index/index.html
• 6. http://www.thais.it/default.htm
p // /
• 7. http://www.eahn.org/
• 8. http://arthistoryresources.net/ARTHLinks.html