Angella Valpolini (International Student)

30155
ARCH 24B
Due Date: 03/02/2016
Pazzi Chapel / San Lorenzo, Laurentian Library

The Renaissance was a period of renewal within Europe. During this period, the classical language
returned. Its vocabulary was employed to represent an order and mutual relationship. Florence was the
prime city where the Renaissance was established, under a medieval context architects started to
evaluate the city and made new changes. The economic apparition of trade persuades to make an urban
and cultural revival, as well as the revolutionary desire from wealthy families to evolve the painting,
sculpture and architecture of the city. This period was recognized by the concept of an ideal city, which
was composed by proportioned and harmonious buildings setting separated while the church was kept
isolated in the center. However, changes in the perspective of life, religion and freedom of mind brought a
new concept within the Renaissance. The Mannerism was the first step that guided them to the interests
of the Baroque era. Both movements from the 14th to 15th century were depicted by famous architects,
such as Filippo Brunelleschi, Donato Bramante, Michellozo Bartolomeo, Michelangelo Buonarroti, Andrea
Palladio and others. But the different styles of some of them made them controlled the elements in order
to represent the truth concept of the period and what could it be the next step.
The Renaissance, which is also known as the Rebirth of the Classical Era, took place in Florence,
Italy, during the 14th and 15th Century. The economic modification in Trade within Western Europe and
Byzantium in the East brought a new revival in the Italian cities. Wool merchants, powerful bankers and
wealthy families such as the Medicis family, desire to represent their patronage by means of art and
letters. Considering this, architects were recruited to depict a new concept of architecture, which was
based on empirical observations of the physical world. Theories from Vitruvius, Pythagoras and Leonardo
da Vinci were taken to represent an architecture with mathematical proportions. Also, the interest on
geometry applied in the Medieval architecture was preserved, pure forms such as the square and circle
became the common forms used in this century. Moreover, the vocabulary of the classical language was
applied by the architects of this era, where columns and beams had to be represented by themselves.
The ideal city of this century was organized by isolated spaces where the Church took the central point. In
this manner, the Renaissance could be recognized by its static, symmetrical, harmonious and hierarchical
distribution and representation of architecture.
Central to the fifteenth-century Renaissance reconception of architecture was the
return to the classical language, which had a vocabulary of elements based on the
orders, and a set of rules, or a syntax, establishing their proper arrangement and
mutual relationship. 1 (pg.338)
While the Early and High Renaissance were focused on creating harmonious and proportioned
buildings upon antiquity models. The Late Renaissance, considered as the Mannerism, depict a new
artistic and personal perspective through the manipulation of classical elements. Mannerism began in the
earliest years of the 15th Century, where some changes in the religious, political and scientific areas
contributed to evolving its concept. Between those changes, there was, the Sack of Rome by the army of
Charles V, Martin Luthers 95 edicts and the Copernican Revolution. This new movement of architecture
was primarily set by mens sense of doubt, which lead architects to reflect on the classical era and
change the rules. The Mannerism would be characterized by unique styles compounded in a group. The
idea was based on an infusion of techniques to create a dynamic, tense and centralized architecture with
elongated axes. Further, it would be recognized by its intensification and multiplication of elements.
While the High Renaissance designers were disciplined and resolute and attempted
to produce integrated, harmonious buildings, Mannerists favored disharmony,
discord, imbalance, tension, distortion, and unresolved conflicts. 1 (pg.306)

There is a myriad of architects who represented accurately each period. However, there are two
architects whom with their employment of personal styles made an impact on each movement. Filippo
Brunelleschi with his visual tricks of perspective during the Early Renaissance and Michelangelo
Buonarroti with his employment of sculpture and paintings concepts into the Mannerism. Filippo
Brunelleschi is considered as the figure who began with the new creative era of the early Renaissance.
Brunelleschi brought a new concept to this century, the representation of objects on a two-dimensional
surface, where he plays with mens sense of perception. This system of spatial representation was
applied to his architecture, causing an impact on painters and architects of the era and the next centuries.
Between his prime buildings, there are the Florence Cathedral, the Old Sacristy in the church of San
Lorenzo, the Basilica di Santo Spirito and the Basilica of S. Maria degli Angeli. However is in his
architectural building, the Pazzi Chapel in Florence, where he employed his concept of spatial
representation by creating half columns on the walls. Although Brunelleschi creates a new style,
Michelangelo Buonarroti represented a twist from the Renaissance. His Western artistic abilities portrayed
on his architectural commissions, contribute to innovate fields of sculpture, painting and architecture
within the Mannerism. In this manner, his architectural design would be characterized by a dynamic and
tense spatiality infused with the intensification of elements. This technique represented the beginning of
the Baroques interests, which he was able to employ in the Sistine Chapel at the Vatican Palace, the
Campidoglio, and the St. Peters Cathedral. Despite this, he was also commissioned to build some major
structures for the Medicis family. Between those commissions there was the Facade of San Lorenzos
Basilican church, the Medici Chapel and the Laurentian Library. Nonetheless, his work within the
Laurentian Library gave another perception of Michelangelos abilities. His sculptural design of the
vestibule stairs and the combination of elements created two different ambients in the library.
The Laurentian library didnt have an extravagant facade, it was built above existing monastic quarters
of the Monastery of S. Lorenzo in Florence Italy. Michelangelo initiates his work in 1524, where he kept a
similar appearance of the original building, but adding a sequence of windows that were connected with
the enlightenment of the library. The multiplication of elements throughout the wall displays this new
concept of the Mannerism, where the message is continuous and repetitive. Michelangelo portrayed the
windows with rectangles and segmental pediments above them, which are elements employed during the
classical era. Unlike Michelangelos work with the library, Brunelleschi designed a different facade for the
Pazzi Chapel. In 1430, Brunelleschi started his work with the Pazzi Chapel in Florence, Italy. His design
was based on mathematical proportions where the buildings height and weight could be divided into
golden sections. This implement of pure harmonic proportions is part of the Renaissance vocabulary.
Further, his facade is similar in design with the Roman triumphal arch, here he employs a series of square
panels supported by Corinthian columns and a central arch to indicate its entrance. This demonstrates
how Brunelleschi uses the classical elements of his design, just as the barrel vault throughout the facade
and the triangular pediment above the entrance as well. In the facade is noticeable how Brunelleschi
represents elements by itselves, without modifying their structure. His elements are distributed depending
on vertical and horizontal lines. There is a continuity of those lines, even when there is a missing space
such as the entrance of the building, the lines continue on both sides. Moreover, Brunelleschi set his new
concept of perception by using half-columns; instead of pilasters, behind the Corinthians, in order to
represent the elements which are supposed to support the continuity of the barrel vault.
When it comes to terms of exterior design, Brunelleschis facade on the Pazzi Chapel was more
elaborated than Michelangelos in the Laurentian Library. However, Michelangelo creates different
scenarios in both spaces of the library. First on the vestibule, where he creates a shocking space by the
magnification of its height. Michelangelo employs a concept of the Mannerism by multiplying elements.
He works with a combination of curved and pointed pediments on tabernacle windows, and, square
shapes on top of each of them. In this manner, he creates a sense of dynamic movement, where the wall
is stretched by horizontal and vertical supports. Also, there is a constant change of movement by inside
and outside contraptions, which was implemented during the Mannerist era. Here the elements are
bursting out while there is a continuous break on horizontal and vertical lines. Along the horizontal line,
there is a break on its fluidity when is interrupted by columns, as well as the continuity of the columns are
blocked by the horizontal line. Here Michelangelo didnt follow the rules of the Renaissance era. He didnt
represent the classical elements by itself, they were molded to give a new message. Michelangelo

depicted a new technique by manipulating elements with an artistic perception. He plays with the
structure of the column, which from the top is flat and compressed, then it turns into a rounded shape;
while on the lower section the column is changed by consoles that seem to float on the wall and support
the columns. This representation of the column gives the viewer a sense of instability of the building,
similar from Michelangelos sculptures in the Medicis Chapel, where the bodies of the statues were lied
on a smaller piece of stone and seemed to be falling, but it gives a sense of drama, tenderness and
fluidity to the art. This methodology to represent and distribute elements compresses the space of the
vestibule, creating tension, a characteristic befitting of the Mannerism. Nonetheless, what caused a
different reaction was his staircase design. Michelangelo turned the staircase into another sculpture, his
three flights staircase with no handrail on the outers and a convex treads in its middle flight gave a sense
of dynamic movement like the fluidity on his other sculptures. Here the architect built a monumental
sculpture which contributes to compress the space even more. The tenderness of its surrounding and
shaped footsteps, which seem to be melting together, gave the staircase a sense of drama. The staircase
is connected with the entrance of the library, which is portrayed by a broken pediment above the doorway.
This element proper of the classical language counts with the same rhythm of the entablatures of the
vestibule, where is compressed in the middle. How Michelangelo depicted the doorway and how his
staircase smoothly moves towards it, gives the viewer a sense of the beginning of knowledge. In the
reading room, Michelangelo gave a new feeling, unlike the tension of the vestibule, here he represents a
serene and peaceful space. While trespassing the door, he offered an elongated space submerged by the
continuous light from the exterior. Here Michelangelo repeats the same concept of intensification of
elements. The wall is crowded by elements, which causes a dynamic movement proper from the
Mannerism. Also, based on monastic libraries, the windows are set between pilasters taking control of
space, while the desks take advantage of the exterior light by following its perpendicularity to the wall.
While Michelangelo was focused on a complex interiors design, Brunelleschi traveled from a more
detailed facade into a wide interior in motion. He worked with the importance of the elements perse and
its relationship with the rest. Brunelleschi held to the Renaissance concepts by providing a space
distributed in mathematical proportions, including circles and squares throughout the building. He depicts
the concept of centrality used within the era by placing a circle above a square, which was a 12 ribbed
dome. Also, he used two barrel vault on each side and symbolic arches on each wall. This helped him
create the harmony and symmetry proper from the Renaissance. Brunelleschi employed his concept of
perception by using half columns throughout the space. This allowed him to create a space in motion, a
characteristic of his style. He represented the elements on a continuous surface without deforming them.
Brunelleschi completed the elements in order to keep the movement around the building while
Michelangelo negates corners and cuts the fluid motion of the elements on the surface. Further,
Brunelleschi magnified the sense of purity, freedom and divine of space, by delineating in gray pietra
serena all the elements along the walls and leaving white walls. This concept of employing the essential
elements and defining hierarchy from the Renaissance period allowed the architect to portrayed a wide
space in contrast with the tension created by the intensification of elements in the Mannerist period.
Additionally, another concept applied in Brunelleschis work is the distribution of columns by following an
order and finally creating a stable and organize design. In the distribution of elements in the Pazzi Chapel,
they keep an order and sequence, while in Michelangelos library there is an infusion of different
elements. Unlike Brunelleschis representation of the Renaissance on geometrical and centralized
spaces, Michelangelo created long axes in his library a concept from the Mannerism and Baroque.
Furthermore, Brunelleschi applied small circular windows around the dome, allowing the light to enter the
building evenly.
Filippo Brunelleschi and Michelangelo Buonarroti were both predominant architects of each period.
Their peculiar and different perception of the architecture was what made them create an impact during
and after centuries. Filippo Brunelleschi represented on his Pazzi Chapel the concepts of the
Renaissance. He depicts a facade representative of the Roman structures by employing classical
elements such as Corinthian columns, barrel vaults, arches, and pediments. Also, he designed the whole
structure with perfect proportions, where the circle and square took place on every segment. Besides, his
interior design of the chapel demonstrate senses of harmony, geometry, and hierarchy, while the
distribution of elements connects with the order of centralization. His personal style set a concept of an
architecture in motion, where his half columns distributed throughout the surface gave the viewer the

feeling of a constant movement and relation between elements. On the other hand, Michelangelo
Buonarroti was emphasized in concepts of the Mannerism. His style and message on his architecture
were connected with the Baroque era. Michelangelo works between two different scenarios within the
Laurentian Library, where he connects both spaces through his staircase. In both spaces he works by
multiplying elements, giving them a dynamic movement proper of the Mannerism. He creates tension in
the vestibule by compressing the space with several elements and then he uses an elongated ax for the
reading room. Also, he applied classical elements such as columns, pilasters, and pediments. Even
though he uses some of the classical elements, he manipulated their representation by vertical and
horizontal breaks in its continuity. Moreover, Michelangelos style was based on his artistic knowledge,
which leads him to give the vestibule some sculptural concept. The monumental proportions of his
staircase represented the magnification of elements within the Mannerism, while the movement and
design of the staircase and columns on the walls, portrayed his sculptural abilities.

Michelangelo Buonarroti, San Lorenzo, Laurentian Library, Florence, 1524 - 1559

Filippo Brunelleschi, Pazzi Chapel, Florence, 1430 - 1433

1. Michael Fazio, Marian Moffet, Lawrence Wodehouse. Buildings Across Time - An Introduction to World
Architecture/ Fourth Edition. New York: McGraw Hill, 2014.