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February 5th, 2014.docx

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Art History
ARTH 2550
Sally Hickson

February 5th, 2014 Alberti, Sant’Andrea, facade, designed 1470, Mantua (12.17) • Pilasters: square columns, applied; found on ancient temples • Coffering and round arch Roman style • Circular motif and roundels • Single triumphal arch • Different elements advancing and receding • Window at the top to allow in light into the nave of the church- architectural imbalance still Interior view (12.18) • Chapels are same width and height as coffered archway on the exterior • Continuation of coffering on the interior to create harmony • Alberti consulted the ruins of the Baths of Caracalla, Rome built in 211-217AD • Roman secular architecture infused into a perfectly classical church Alberti, facade of Santa Maria Novella, c.1461-70, Florence (7.23) • Pre-existing Gothic foundation was transformed into something Roman Fibonacci sequence • Proportionally expands Michelozzo di Bartolomeo, Palazzo Medici (now Medici-Riccardi), Florence, for Cosimo in Vecchio, 1444 (7.18); heavy rustication on ground floor; more elegant second floor, the piano nobile where the family lived • Showy, but consistent with local practice • Had a functional purpose • Courtyard windows allow light into the building • Fort-like masonry • Rustication: depth of cut of the stone; rougher cut on lower levels to reinforce fort-like, protective atmosphere • Stone more smooth/elegant of the second floor where the family lived • Top floor was the kitchen and staff living courters; changed over time because fires started in the kitchen on the top floor were very detrimental • Ground floor was semi-public, benches on the sidewalk where guests would wait to be brought into the building • Alberti put in effort to build a system Alberti (designer) and Bernardo Rossellino (builder), Palazzo Rucellai, façade c.1452-58, Florence (7.2) • Generalization • No rustication • Applied pilasters with bays running vertically= symmetrical harmony • 3 orders of Greek architecture like coliseum o Doric, ionic and Corinthian  Doric most masculine and appears on the first level of buildings  Ionic more decorative representing femininity  Corinthian representing the divine; the most decorative and light  Visual weight decreases as the eye travels up the building  Alberti uses the order as a way to apply history in the present
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