Architecture of Italy – Late Renaissance and Mannerism
Decorative facades, characteristic of the Venetian Renaissance, were largely duplicated throughout northern Italy, especially in Donata Bramante's early projects (1444-1514) in Milan. They include: church of San Satiro. in which a chapel from the 9th century was brilliantly incorporated, and the lack of space to build the apse was compensated for by creating a convincing illusion of its existence; the eastern part of Santa Maria delle Grazie in the central plan, which completely outclasses the Gothic nave and the series of cloisters for Sant'Ambrogio.
After the city was taken over by the French, in 1499 year. Bramante escaped to Rome, where his zeal successfully coincided with the thirst of the papal authorities, to rebuild the city in a style worthy of its former imperial splendor - this is how the late Renaissance in architecture was born. The core of the reconstruction was the demolition of St.. Peter from the 4th century and its replacement with a huge new church. Bramante provided the design, in which the idea of the central plan found its culmination - a Greek cross with four smaller Greek crosses in its arms. It took well over a hundred years to complete the project. during which period Ramante's plan was abolished beyond recognition, only the pillars of the dome remained. A surviving Bramante's masterpiece in Rome is the tiny Tempietto San Piętro in Montorio. whose splendor exceeds its size many times over.
The position of the leading architect in Rome was taken over by the Bramante Raphael (1483-1520). His painting activity left him little time for this, but his few structures were to make an extremely powerful impact. In the Chigi Chapel located in the Church of Santa Maria del Popolo, it resulted in his interest in temples on the central plan, first revealed in the painting The Wedding of the Blessed Virgin Mary (currently in Brera). The chapel is intentionally separated from the church and richly decorated with statues, bas-reliefs in bronze, images, marble and mosaics; this splendor reflects the patron's wealth, papal banker. Raphael's apprentice. Julius Roman (ok. 1492-1546) he was active mainly in Mantua. where he deliberately distorted elements of classical architecture, at the same time giving rise to mannerism. In Palazzo del Te the idea of the organic unity of the house and the garden is carried out, as well as architecture and interior decoration. The artist's own home in the same city is completely different, but equally innovative, and the cathedral of his design is an early example of a structure, whose main purpose is the overall effect and "attracting” viewer to the main altar.
Baldassarre Peruzzi (1481-1536). originally from Siena, built the most beautiful of the late Renaissance palaces in Rome. Villa Farnesina. which can be considered the most outstanding secular monument of this period; the villa is U-shaped. on the ground floor there are two loggias with exquisite frescoes, and the architecture of the great hall upstairs creates illusionistic perspective effects. At Palazzo Massimo alle Colonne from the late period of his career, slope problems are successfully overcome, thanks to the use of unusual, convex facade. Peruzzi also built the pentagonal Villa Farnese in Cap-rarola in collaboration with Antonio da Sangallo the Younger (1485-1546), with whom he also worked on the construction of the Basilica of St.. Peter. The most important independent project of Sangalla is the classicising Palazzo Farnese. the most impressive roman palace from this period.