Class Notes (808,754)
Canada (493,378)
Fashion (410)
FSN 132 (61)

FSN 132 Wk 9- Italian Romanesque and Gothic Architecture.docx

25 Pages
Unlock Document

Ryerson University
FSN 132
Julia Scalzo

Italian Romanesque and Gothic Architecture: -Pisa Baptistery, Cathedral, Campanile 1063-1272, 10.30-.33 Baptistery (Adams 10.30)  separate building for baptisms, simple dome structure.  Contains round headed arches on lower level but has pointier details on higher levels: shows that they began to accommodate gothic features as building was being finished  Rotunda-like appearance: We can recognize that this is a Romanesque building because of rounded arches Campanile of Pisa Cathedral , 1174-1271(Adams 10.32)  “Campanile”= bell tower  six stories of arcaded galleries  Round arches are Romanesque inspired, their repetition creates a sense of unity  Italian Romanesque buildings were influenced by the Classical tradition, rarely had façade towers or westwork o Italian churches have separate towers from the rest of the cathedral  “Leaning” tower: built on a soft foundation, so tower began to lean. Architects began to build around and accommodate the leaning rather than restarting Nave of Pisa Cathedral, 1053-1272, 10.31:  large transepts associated with Romanesque buildings  double side aisles, flat wooden roof  round arches form arcades separating the nave from the aisles  gallery level and clerestory windows Comparisons: -San Miniatio al Monte, Florence, 1062-1090 vs. Pisa Cathedral:  Top of S. Miniatio is more similar to a Greek temple  Pisa places importance on central door and uses circular architecture  S. Miniatio uses surface veneers rather than actual marble blocks -Pisa Cathedral vs. St-Etienne, 1067-1087, 10.38:  Pisa places more emphasis on the horizontal vs. vertical of St-Etienne  Saint-Etienne is a precursor of Gothic style that emphasized verticality  Still uses round-headed arches -Siena Cathedral, Tuscany, Italy, 1284-1299, 11.53 vs. San Miniatio al Monte, 1062:  similarities: central window, center of roof is higher than sides. Retain dark marble stripes of Italian Romanesque o basic elements of façade are similar.  differences: Siena is more vertical with more vertical decorative detail. Contains sharply pointed arches with some rounded elements. Uses free- standing sculptures rather than surface veneers of Miniatio -Milan Cathedral begun 1386, 11.54  Gothic pointed arches, verticality  Construction began in 1386 but was not completed until 19 century o Uneasy mix of Gothic and later styles  Combines massive size with delicate surface patterns o Ornate flying buttresses that the not visible from the ground  vs. Reims, 1211-15 century, 11.32:  Milan is a long horizontal building with enormous scale vs. verticality in Reims. -Florence Cathedral, begun 1296, Campanile by Giotto 1334, 13.4&.5:  understands gothic ideals: pointed arches, divided stories  marble veneers, relatively restrained in sculptural decorations, central windows  dome starts around 12 stories up vs. low dome of Pantheon -Venice, Doge’s Palace, 1420 11.57:  Characteristic of Venetian Gothic  More open building (Adams p.417) o First two stories of façade consist of a lower portico surrounded by an open loggia, creating a striking pattern of light and dark formed by the slightly pointed arches and lobed openings o Upper story façade is a more solid wall, faced with a pink and white surface pattern that lightens its effect o Top contains a row of slender pinnacles that repeat the curvilinear patterns of the lower levels  No religious significance (secular), Senators’ Palace  Pointed arches and more decorative surface pattern on veneers -Venice, Ca’d’Oro 1421 (NIT):  palace on the Grand Canal, private architecture  shows Venetian Gothic architecture was applied to a range of buildings other than cathedrals  Similar to Doge’s Palace, same architects ------------------------------------------------------------------------------------- Italian Painting and Sculpture of the 14 Century: Precursors of the Renaissance (Adams Ch. 12, p. 435) -Nicola Pisano: pulpit, Pisa Baptistery 1259, 12.1 -Shows a fusion of Gothic arrangement: the combination of columns with Corinthian capitals and trilobed arches with the round arches of Roman and Romanesque styles  relief of Nativity (part of pulpit img. 12.1), Pisa 1259 12.2 Vs. Visitation, Reims Cathedral 1225, 11.35: o observe figures wearing roman togas, shows that they were looking at Roman sculpture. Proportions are closer to classical proportions o Shows direct influence of imperial Roman reliefs  Rendition of draperies identify organic, 3-dimensional movements of figures in space o Hierarchical proportions of Mary -Florence: Cimabue 1280 12.3, Duccio 1280, Giotto 1310 12.4 altarpieces:  compare to Virgin and Child Enthroned, Greece 1020, 8.41: o wearing roughly the same sort of clothing, o fig. 8.41 is Later Byzantine style (p287):  Virgin is isolated from the natural world vs. the surrounding angels, etc. seen in Cimabue, Duccio, and Giotto  Frontal, faces viewers directly compared to gazing at the child in Cimabue Duccio and Giotto  More linear, uses very little shading, flat halos, appears “otherworldly”  Christ child demonstrates proportions and gestures of a grown man o Cimabue demonstrates Byzantine influence: gold background, long, thin proportions; Christ child is depicted with the proportions and gestures of a grown man  Giotto: Madonna Enthroned 1310, 12.4 vs. Cimabue 12.3: see p.439 o Both have elaborate thrones, Byzantine gold backgrounds, flat halos, child is depicted in a regal pose with a blessing gesture o Different approaches to the relationship between space and form  Observe depiction of the throne: Cimabue’s thrown rises in an irrational unknown space (no floor) while Giotto’s is on a horizontal support approached by steps o different proportions  Cimabue uses long, thin, elegant figures while Giotto’s are bulky with draperies that correspond convincingly to organic form and gravity  Giotto demonstrates 3-dimensional space, his figures turn and move as in nature o Giotto demonstrates a consistent light source with more naturalistic drapery and body, models in light and shade, better sense of perspective o Different representation of Christ child:  Cimabue’s infant shows proportions of a grown man (smaller head, thin proportions) and is not logically supported on Mary’s lap. Giotto’s infant has chubby proportions and rolls of
More Less

Related notes for FSN 132

Log In


Don't have an account?

Join OneClass

Access over 10 million pages of study
documents for 1.3 million courses.

Sign up

Join to view


By registering, I agree to the Terms and Privacy Policies
Already have an account?
Just a few more details

So we can recommend you notes for your school.

Reset Password

Please enter below the email address you registered with and we will send you a link to reset your password.

Add your courses

Get notes from the top students in your class.