Week 3

This week: more on domestic architecture, Leone Battista Alberti's churches, and examples of Albertian influence. We will also be exploring outside of Florence, travelling to Rome, Mantua and Rimini.

Palazzo Strozzi, 1484

The Strozzi family was another infamous and powerful Florentine family. Giuliano da Sangallo (1443-1516) created a model that was meant to out do the rival Medici family. Their Palazzo, started in 1443, follows along the same lines as the Medici palace by Michelozzo with an emphasis on modesty and civic pride.There are some important changes though. The building is slightly taller, the stonework is more refined and the gradation between the stories is much more subtle. The proportions are more harmonious and the internal symmetry has advanced.

Palazzo Venezia, Rome

Alberti's ideas were appropriated by many. One example is the Palazzo Venezia in Rome, 1455-1491. Classical symmetry is maintained as is centralization. Like the previously visited palaces, there are seemingly three exterior levels seperated by a string course. While there are similarities, let's look at the differences. This structure is more medieval and fortress like with its high tower and crenellated roof. It does not read as the domestic dwelling of Cardinal Pietro Barbo (Pope Paul II). Another difference is the arrangement of windows, the fenestration. Here we have cross-mullioned windows with classical molding. Topping the 2nd and 3rd story windows are lintels, horitontal beams.

The courtyard loggia exemplifies the solution of the joining of corners. The proportions have finally been achieved here by the doubling of piers. There is a satisfying flow, which was missing in the earlier palazzo's. The arches are now supported on piers with attached, superimpositionized pilasters.

Cancelleria Vecchia, Rome

The first thing you might notice about this building is the use of pilasters. Although this was built at the end of the Quatrocento (1485-1511), more than thirty years after Rucellai, you can see that the pilasters Alberti introduced are still being used on the facade. Using the pilasters and the entablatures, this massive structure seems a bit more customized and interesting. Incorporated are lintels and roundels above the arched windows. Here the cornice is less successful, sized only for the top story.

San Francesco (Tempio Malatestiano)

Alberti was commissioned by the tyrant Sigismondo Malatesta to transform a pre-existing Gothic church into what would become the Tempio Malatestiano, a sort of mausoleum. Built in 1450 in Mantua, it was inspired by the Arch of Constantine and the concept of triumph over death. The arcaded side, with pilasters attached to piers, holds sarcophagi. It was never finished due to financial trouble. It has been speculated that the top story may have been meant to include another arch window.

Santa Maria Novella, Florence

Commissioned again by Rucellai, Alberti was presented with the challenge of adding onto a pre-existing structure. Brunelleschi had encountered similar situations with S. Lorenzo and Sto. Spirito. One problem was that the nave was taller than the side aisles, the other was how to add on to an older building and keep it consistent. Using his ratio theories, Alberti was able to break it down in to a series of organized and proportionate shapes. The height is equal to the width, the top story is half of the bottom, and the pediment on top is the same size of the side volutes combined. The addition of the volute scrolls elegantly solves the disparity in height. Alberti added the major and minor columns on the lower story, seamlessly conflating the Gothic with the Renaissance. Santa Maria Novella was started in 1458 and finished in 1470.