Philippe Brunelleschi - Renaissance architect who changed the face of Florence. Foster House (Florence) Foundling House in Florence house plan

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Panzhina Maria

Filippo Brunelleschi

Location: Florence (Italy) Creation: 1419-1444
Architect: Filippo Brunellesco

Pazzi Chapel

Location:
Creation: 1456-1464
Architect: Filippo Brunellesco

Palazzo Pitti

Location:
Florence (Italy)
Creation: started in 1440
Architects:

Church of Santo Spirito

(XIV-XVI centuries, Middle Ages, basilica, Italy, Renaissance, Filippo Brunelleschi, Florence, temple)

Location:
Florence (Italy)
Creation: 1436-1487
Architect: Filippo Brunellesco

Sacristy of the Church of Santo Spirito
The model for the building was made by the architect in 1436, but construction began only in 1446, the year of Brunelleschi's death.

Santo Spirito is the largest church in Florence, second only to Santa Maria del Fiore. Although Santo Spirito is much larger in size than the church of San Lorenzo, it has a very great similarity with it both in terms of plan and in terms of internal architecture.

Like the church of San Lorenzo, the main part of Santo Spirito is divided into three naves, with the ceiling of the central nave being flat and divided into hexagonal caissons. The side aisles are separated from the middle by colonnades.

The resemblance to San Lorenzo is enhanced by the formation of the central dome and a number of architectural details. The difference between these two buildings, which puts Santo Spirito architecturally on a higher level compared to San Lorenzo, is that galleries-naves are widely used here, encircling the church with all its side limits.

In San Lorenzo, as already noted, a three-nave division is also adopted, but there this division concerns only the main section, while in the church of San Spirito, the side aisles go beyond.

Rhythmic alternation of colonnades enveloping the church, vaults and arches, giving rise to a bizarre play of sliding light rays, highlights and shadows - all this creates the impression of depth, spatiality and, at the same time, architectural richness.

Instead of the rectangular side chapels of San Lorenzo, semicircular niches are given here, located along the entire perimeter of the building and separated by semicircular pilasters, which is undoubtedly caused by the desire to create an architectural effect of large volume. Rounded, arching walls in combination with round columns standing against their background, as it were, push the space apart.

Creation: 1472-94

Architect: Alberti and others

Alberti's most important building in northern Italy was the Mantuan church of Sant'Andrea, in which the architect tried to combine the traditional basilica form of the temple with a large domed roof. Despite the fact that the church was built after the death of Alberti (its design was created in 1470), it, to a greater extent than in many of his other buildings, retained the original author's intention. Its majestic façade, reminiscent of a triumphal arch, the grandeur of the interior space, the decoration of the façade and interior with two systems of orders - large and small - bring close to the architecture of the High Renaissance

Sources:

P.P. Gnedich
Moscow “Eksmo”, 2009

General History of Architecture, Volume 5
Architecture of Western Europe of the XV-XVI centuries
Renaissance
1967, Moscow

I.A. Bartenev "Architects of the Italian Renaissance"
1936; Publishing house: OGIZ

Gutnov A.E., Glazychev V.L. The world of architecture: The face of the city. – M.: Mol. guard, 1990.

Neil Stevenson
"Architecture. Architectural masterpieces from around the world”
Dorling Kindersley Publishing London-Yew York-Sydney-Moscow

Savarenskaya T.F. - Western European urban planning of the XVII-XIX centuries, Moscow Stroyizdat, 1987.

P.P. Gnedich
“The General History of Art. Painting. Sculpture. Architecture". Modern version
Moscow “Eksmo”, 2009

Lisovsky "Architecture of the Renaissance Italy" St. Petersburg PUBLISHING HOUSE "AZBUKA-CLASSICS" 2007

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Panzhina Maria

Filippo Brunelleschi

Filippo Brunelleschi(1377-1446) - great Italian architect, sculptor of the Renaissance. The future architect was born in Florence.

Orphanage in Florence or Orphanage Innocenti

(XIV-XVI centuries, Middle Ages, Italy, public building, Renaissance, Filippo Brunelleschi, Florence)

Location: Florence (Italy) Creation: 1419-1444
Architect: Filippo Brunellesco

Brunelleschi also worked on a number of other structures. His earliest and completely independent creation should be considered the house and loggias of the orphanage (or educational home) Ospedale degli Innocenti in Florence. This building was begun on a model made by Brunelleschi in 1419 and completed by his student Francesco della Luna in 1445.

Lightweight two-story straight facade. Thirteen rectangular windows with antique pediments above them cut through the smooth surface of the walls of the upper floor. A laconic, modest architrave separates the floors. The main central part of the lower floor is formed by a portico of ten elegant Corinthian columns with arches thrown between them, framed by a simple, light archivolt. Above the columns, between two adjacent arches, there are round medallions - a motif often used by Brunelleschi.

The introduction of such an arcade into the facade allowed the architect to significantly lighten the lower floor and achieve a certain sharpness of the composition. The upper floor was thus much heavier. In addition, it became possible to organize a kind of loggia behind the columns, raised several steps above the street. At the same time, the entrance doors were somewhat pushed back. Brunelleschi does not shrink, does not crush architectural masses. On the contrary, he generalizes them, aligns them.

When designing the facade, the architect also pursued the following goal: to give a fairly monumental, expressive frame to the small area on which the building faces, to spatially combine the proportions of the area with the proportions of the building. It should be noted that here Brunelleschi first solved the problem of constructing a building with a large number of separate small rooms , mainly of a public and residential order, a building that is more close to the type of palace-mansions

Pazzi Chapel

(XIV-XVI centuries, Middle Ages, Italy, domed, Renaissance, Filippo Brunelleschi, Florence temple)
Location:
Florence (Italy), in the courtyard of the Basilica of Santa Croce
Creation: 1456-1464
Architect: Filippo Brunellesco

The generally recognized masterpiece of Brunelleschi's work is the Pazzi Chapel, built in the courtyard of the Church of Santa Croce in Florence. The Pazzi Chapel was begun by Brunelleschi in 1430 but completed by other masters.

In the Pazzi Chapel, Brunelleschi departed from the principle of the Roman basilica, to which he was faithful in the church of San Lorenzo, and settled on a calm outline of the plan, approaching in shape an equilateral Greek cross, covered in the middle by a dome.

Brunelleschi managed to create a church building ascending in its architectural basis to cheerful, light forms.

In architectural terms, consistently sustained simplicity of shaping, general grace and elegance of proportions, a sense of proportion in relation to decorative design.

The unity of external and internal architectural treatment of planes, which Brunelleschi mastered so masterfully and which formed the basis of all later Renaissance architecture, is extremely valuable here. The entrance portico of the chapel was extremely interestingly executed by the master.

Six light Corinthian columns support a vaulted-arched ceiling system. Outside, the frontal part of the portico is designed in the form of small Corinthian pilasters, separated by large rectangular windows with a simple cross binding. The entire facade plane is divided into two symmetrical parts by a light circular arch with a small elegant archivolt. The smooth curvature of the arch is in harmony with the general construction of the entire facade.

The inner surfaces of the vaults are treated with rectangular and hexagonal caissons, which lighten the structural basis of the ceiling and create an extremely pleasant sculptural molding, which contrasts with the relatively simple processing of the outer frontal part of the portico.

The author of the chapel managed to combine the forms of rectangular outlines with curvilinear surfaces, leading them to an organically indivisible whole, which is one of Brunelleschi's main techniques. An example is the organization of the internal space of the chapel. The basis here is a spherical ceiling of a rectangular plan, in its central part forming a sail, crowned with a gentle dome, peculiarly processed by converging in the center, sharply protruding ribs, similar to how it was done in the sacristy of San Lorenzo. In the lobes of the wall, between the ribs, placed small round windows. Thanks to them, the play of chiaroscuro facilitating it is obtained in the dome. Outside, the dome has outlines close to a gentle cone, with a very slight curvature. The dome rests on a simple, smooth, low cylinder, animated by the same round windows. In the upper part, the dome is completed with a light, slender lantern of very peculiar proportions, further emphasizing the vertical axis of the building.

Thus, the task of the external characteristics of the chapel is solved very concisely and simply. The surface of the wall is made in stone with rustic masonry, with smooth fusts of columns standing in front of it, for which it serves as a background. The wall is cut through by large windows with a semicircular top. This motif is also repeated inside the chapel in the form of flat niches that serve to process calmly smooth wall planes with round bas-relief medallions located above them. Flat fluted Corinthian pilasters complete the interior work of the chapel.

Palazzo Pitti

(XIV-XVI centuries, Middle Ages, palace, Italy, palazzo, Renaissance, Filippo Brunelleschi, Florence)
Location:
Florence (Italy)
Creation: started in 1440
Architects: Filippo Brunellesco, Ammanati and others.

In addition to the church architecture of Brunelleschi, his palace buildings are of great interest; he doesn't have many. During the life of Brunelleschi, the construction of mansions (palazzo-palaces) of the richest Florentine nobility was not yet as widespread as it happened later. Of the most important palace-type buildings belonging to his work, the famous Palazzo Pitti and the Palazzo del Parte of Guelph. Palazzo Pitti belongs to Brunelleschi only in the central front part, but what he did is very significant.

This mansion was commissioned by the noble Florentine Lucca Pitti in 1440 and conceived by Brunelleschi in majestic monumental forms, reflecting the wealth of the Pitti, and also as if emphasizing the inviolability of the social order in which such structures could be erected. Regarding this palazzo, contemporaries noted that "in the art of Tuscany there has never been anything more exceptional and magnificent." Palazzo Pitti, along with the Palazzo Ricciardi by Michelozzo di Bartolommeo, a follower and student of Brunelleskin, is usually considered the primary source of such buildings.

The facade of Palazzo Pitti is sharply divided by horizontal belts into three floors, the top floor being shorter than the first two. This technique of dividing the building into horizontal parts is characteristic of all early Renaissance palaces. The walls are built of rough unhewn stones of unequal size and relief (such masonry is called rustic in architecture). The windows here look like large arches made of the same rough stone, with small mullions worked in the form of smooth pilasters. The windows of the second floor are exactly like those of the third; the lower floor is treated with a rhythmic alternation of large arches reaching the ground, with small rectangular windows raised high above the ground, and these arches are made in the form of windows crowned with small pediments. Under the windows there are decorative fountains with lion heads. The central arch serves as the entrance gate. Palazzo Pitgi does not have a pronounced plinth. The masonry here begins almost from the very surface of the earth. The windows of the first floor are covered with bars, which, together with the loopholes, gives the building a stern, almost fortress-like appearance. The desire to give the building the character of a fortress is explained by frequent armed clashes. The almost complete absence of decorativeness, ornamentation, strict clear proportions - all this contributes to the creation of an architectural image.

The Florentine Palazzo Vecchio served to a large extent as the architectural prototype of the Palazzo Pitti.

In the Palazzo Pitti, a clearly defined style is visible. Brunelleschi does not imitate ancient architecture, but takes from it only what is necessary to perform independent architectural tasks.

Name: Ospedale degli Innocenti (it), Ospedale degli Innocenti (en)

Location: Florence (Italy)

Creation: 1419 - 1444

Style: Renaissance

Architect(s) Story by: Filippo Brunelleschi

Object architecture

Source:
I.A. Bartenev "Architects of the Italian Renaissance"
1936; Publishing house: OGIZ

In parallel with the construction of the dome of Santa Maria del Fiore, Brunelleschi worked on a number of other structures. His earliest and completely independent creation should be considered the house and loggias of the orphanage (or educational home) Ospedale degli Innocenti in Florence. This building was begun on a model made by Brunelleschi in 1419, and completed by his student Francesco della Luna in 1445, that is, a year before the death of the author of the model.

In the architectural features of the shelter of Innocenti, the beginnings of stylistic provisions are visible, later developed by Brunelleschi and his school in a number of buildings.

As conceived by Brunelleschi, the organization of such a wide “inviting” entrance revealed in the facade the very purpose of the building as a shelter for children, open “for all those in need”.

Brunelleschi does not shrink, does not crush architectural masses. On the contrary, he generalizes them, aligns them.

The plan of the house is carefully drawn, the interior spaces and courtyards - their mutual arrangement, their spatial connection - are thought out in detail by the architect and are in accordance with the organization of the facade.

This circumstance seems to be especially significant if we recall that at the highest stages of the development of the Renaissance, the problem of internal space and the rhythm of its individual elements began to play an extremely important role.

Considering the building of an orphanage in Florence as a whole, it should be noted that here Brunelleschi first solved the problem of building a building to which the requirements put forward by a new era, a new social structure were presented - a building with a large number of separate small rooms, mainly public and residential order, buildings, more than others close to the type of palaces-mansions.

Sources:

General History of Architecture, Volume 5 Western European Architecture of the 15th-16th Centuries Renaissance 1967, Moscow

The building of the Orphanage adorns one of the main squares of Florence - Santissima Annunziata, along with the church and monastery of Dei Servidi Maria.

In the appeal of the guild members to the city authorities it was said: "The orphanage called Santa Maria degli Innocenti; children will be admitted which, contrary to the laws of nature, were thrown father and mother and whom the people accepted to call "foundlings"

The foundation of this orphanage for orphans and illegitimate children was connected with the civil life of the city, and not the religious life, as before, which corresponded to the new humanistic trends of the era. At the end of the 13th century, the General Council of the People in Florence entrusted the largest guild of silk spinners and jewelers with the care of orphans. Despite the fact that the city already had hospitals - San Gallo on the northwestern outskirts and Santa Maria della Scala on the southwestern - it was decided to build a new building for the orphanage for babies.

At the beginning of the 15th century, the commune, using capital bequeathed for this purpose by the wealthy merchant Francesco Datini da Prato, bought a plot of land in the city, which was occupied by gardens and orchards. Brunelleschi, who was a member of this guild, was commissioned to develop a project for the Foundling House, which opened already in 1444. Along with him, Goro Dati, Francesco della Luna were elected to lead the construction process; they were not architects and merely exercised general oversight of the building process and cost control. It cannot be said that all three have a good relationship.

Chronicler G. Dati writes in his Chronicle that in this "new Ospedale will accept any male and female child, give to all nurses, to support everyone, and when the girls grow up, they will be given in marriage and the boys will be educated crafts, which will be a deed worthy respect"

The difference between the Orphanage and medieval hospitals was that the latter usually combined the functions of a hospital, a hospice and an orphanage. The new building was intended only for children and for their upbringing up to 18 years of age. Upon leaving the orphanage, they mastered certain professions and specialties: girls mastered the skills of housekeeping, needlework and most often got married, boys could earn a living by crafts. In the Orphanage there were not only nurseries for infants, a school, various kinds of workshops, but also a church with a pharmacy. In accordance with the plan of Brunelleschi, the building looked like a one-story building, but it was not like that: the first floor went underground, that is, it was a basement. It is easy to see the symbolism in the way the rooms were distributed on these tiers. The premises below were intended for craft workshops, a dining room and other household premises, while at the top there were premises for spiritual pastime, relaxation. Researchers suggest that such a plan was influenced by Plato's ideas about the education of ideal citizens for a perfect state.

Neither Brunelleschi himself nor his contemporaries attached much importance to the Orphanage for the master's creative biography, unlike current scientists who see this project as the beginning of the architect's own path and a manifestation of his independent style. Unfortunately, the graphic plans and architectural layout of the house have been lost. Vasari in his "Biography" only briefly mentions the Orphanage against the background of the main story about the construction of the dome of the Cathedral of Santa Maria del Fiore, which was carried out at the same time. However, documentation related to the formal part of the construction has been preserved.

For the opening of the "men's courtyard" in 1445 a special ceremony was organized with the participation of consuls of the guild of merchants silk, Bishop of Fiesole, papal legate and patriarch of Jerusalem. About participation Brunelleschi in this event no information preserved

Work on the purchased site begins in August 1419, in 1420 the foundation was laid for the main portico - after permission was obtained for the construction of a wide staircase in front of it, which went beyond the purchased site and occupied part of the public land. A year later, they began to bring the columns, and where the chapel of the shelter was supposed to be, the first column was installed. At the same time, the name of Filippo is mentioned for the first time in connection with the receipt of a fee for the drawings of pilasters and the design of doorways. Over the following years, Brunelleschi's name is repeatedly found in documents, until 1427, when the main gallery with a portico was completed. Starting from this year and until the completion of the construction work, the management passes to Francesco della Luna. It is known that in June 1427 a solemn business breakfast took place, which was attended by "consuls and masters and many merchants", representatives of the guild. It was decided to enlarge the original project, as the building seemed too small for all the necessary needs. Brunelleschi apparently abandoned further work, and it was headed by della Luna, who not only expanded the project, but also made some changes to the already rebuilt part of it. During breakfast, they discussed and approved the “drawing of the building, made on parchment by the painter Gerardodi Giovanni”, which included additional rooms. In subsequent years, the building was repeatedly renovated and remodeled, up to the present day it is used for its intended purpose (only on the first floor there is a small museum dedicated to the history of the founding of the Orphanage). In 1842, after a strong earthquake, all the columns in the portico, made according to the drawings of Leopoldo Pasca, had to be replaced. The facade was rebuilt in 1872 and in 1896. The last major restoration of the interior decoration dates back to the 1960s-1970s. By the 600th anniversary of the architect, the internal, so-called women's courtyard on the right side of the building was reopened. But despite all the alterations, Brunelleschi's style is invariably preserved in the building.

The architectural ensemble of the Orphanage is rather unusual. Very modest building materials were used for it: white plaster and noble gray local stone, beautifully shading each other. Subsequently, medallions with blue glaze were added to this subtle color combination. In its typology, the Orphanage resembles the cloisters of medieval monasteries, which in turn are based on the layout of Greco-Roman atriums or palaestras. The composition of the building is a square, its front side is decorated with a columned portico with a gallery. The central part of the building is occupied by an open courtyard, which was intended for the rest of the male part of the staff, which is why it was conventionally called the "men's courtyard". He, in turn, was surrounded by more rows of covered galleries with order arcades and cross vaults. The second floor appeared after Brunelleschi left this project. Also, at the later stages of the construction of the Orphanage, the length of the central facade with a portico and a gallery was increased, and another courtyard was arranged in the interior for the female part of the staff.

The façade portico leaves the brightest impression of the entire building. It is raised on a stepped podium and consists of a colonnade with graceful arched lintels (ten spans in total). Behind them is a loggia covered with a system of enfilade sailing vaults and three symmetrical doorways along the wall. On the sides, the facade is flanked by spans, but without arcades, which gives the whole structure a solid monumentality. The columns supporting the arcades are crowned with Corinthian capitals and rest on simple Attic bases. This solution is very reminiscent of the Roman prototypes, and also follows the local traditions of the Tuscan Proto-Renaissance. Other decorative elements can be called an original feature, already characteristic of the creative genius of the Renaissance. On the sides of the arcades rise two fluted pilasters, decorated with capitals of the same order as the main arcade. The decoration of the entire portico with an entablature is rhythmically combined with them, although, strictly speaking, this is not an entablature, but only its lower part - the architrave, which consists of three profiles, or ledges (the so-called fascia). It rests on the archivolts of the arches. On the sides, the architrave breaks and falls down, thus forming the entire portico into a kind of “perspective” frame. Such a "frame effect" did not play any constructive role and had only a decorative value, the same is found in the treatment of the upper tier of the walls of the Baptistery of San Giovanni in Florence. According to Brunelleschi's biographers, this decision did not belong to Filippo, but to his assistant della Luna, and such a license was not approved by the master, but the detail remained to decorate the building. It should also be noted the special "graphic" design of the architectural details of the facade: all articulations and details are emphasized by relief profiles, which reveals their structural role. Another interesting detail is a small special niche in the left wing of the loggia, where people could anonymously leave a foundling.

Manetti on deviations from Brunelleschi's project writes: “All this is the result of an arrogant self-confidence of the one who ordered it do. Experience has shown that in the buildings of Filippo nothing can be changed without violating them beauty, without spoiling them, without diminishing their usefulness without increasing costs

Already after the death of Brunelleschi, the loggia received additional decor in the form of 14 polychrome majolica medallions made of glazed clay (1463-1466). They were created in the workshop of Luca della Robia, probably Andrea della Robia. The medallions, although they were not originally planned in the decor, organically fit into it. They were placed in tympanums between the arches. Each depicts babies swaddled to the waist. They have become quite popular in the circle of international medical symbols. A copy of one of them is placed on the facade of the building of the Westminster Children's Hospital in England, and since the 19th century, the so-called Florentine baby has even been a symbol of pediatrics in some countries.

Although it is believed that the Orphanage was damaged by later renovations, there is no doubt that Brunelleschi's original architectural design left its mark and caused a wave of imitation throughout Italy. Over the next few centuries (until the 17th century), all the other facades of the buildings in the square were rebuilt in imitation of the portico of Brunelleschi (the loggia of the Servi di Maria monastery, the portico of the church of Santisimma Annunziata), thus forming a kind of columned courtyard inside the city on the spot its area.

The Hospital The Orphanage of the Innocents or Orphanage is an orphanage located on the Square of the Most Holy Annunciation near the Church of the Most Holy Annunciation. This place was the first orphanage in Europe of this magnitude. The hospital building is one of the first architectural works of the Renaissance period.
The hospital building, the Shelter of the Innocents, began to be built on the monastery garden, which belonged to the Church of the Most Holy Annunciation. The organization of the institution was carried out as part of the program of charitable initiatives of the oligarchy in Florence in the XIII century. The main goal was to improve the lives of citizens, as well as to improve the sanitary situation.
The guild of silk manufacturers and jewelers was appointed as a trustee of the shelter. The construction was entrusted to one of the members of the Guild, the jeweler Filippo Brunelleschi. It was he who developed the project, which included the construction of a facade with a classic portico, as well as a square-shaped patio. This was in line with the traditional scheme of hospital construction, which was already used in the Florentine hospital of St. Matthew at the end of the 14th century (today it is the building of the Accademia Gallery).
Construction began in 1419 and continued until 1427. Supervised the work of Brunelleschi. Only by 1445 the building of the Hospital of the Orphanage of the Innocents was finally completed. It was consecrated in 1451, after which the first guests came here.
Most modern art historians argue that this building had a huge impact on the development of not only Florentine, but also Italian and world architecture. The facade, unique for that time, was a kind of architectural variation on the theme of antiquity. The two-story structure was over 70 meters long. In plan, it was something like a loggia with columns, stretching along one side of the square. The color scheme is impressive, because smooth white plaster was used in the cladding of the second floor. All columns are made of gray stone, which contrasts perfectly with the white wall. This coloristic effect became a favorite for Brunelleschi, it was often used by other Florentine masters.
At the end of the 15th century, the loggia was decorated between the arches with white and blue medallions of glazed clay depicting babies. This is probably the work of Andrea della Robbia. Today, this image belongs to international medical symbols, and in a number of countries the “Florentine baby” has become a symbol of pediatrics. The portico is decorated with frescoes by Giovanni di Francesco, Bernardino Pocchetti and Gasparo Martelini.
Today, the Asylum of the Innocents still houses the most important charitable institutions in Florence. There is a nursery, a motherhood school, orphanages, a women's shelter, the National Center for Childhood and Youth, UNICEF research offices, a museum with 77 valuable works of art.

Philippe Brunelleschi. Educational House in Florence. The first Renaissance building in the city. Early 20s. The humanist Leonardo Bruni proposed to build an orphanage.

Lecture 3.1

15th century early revival. 1st half of the 15th century.

The time when the foundation of the Renaissance culture was laid in architecture, sculpture and painting.

Philippe Brunelleschi - architect 1377-1446. Gothic

Donatto Donatello - sculptor 1386-1466 gothic

Tomaso Masaccio - painter 1401-1428gᴦ. was born in the 15th century.

Like 3 whales on which the art of the Renaissance stands. Speak first half of the 15th century.

They lived and worked primarily in Florence.

Florence is the cradle of Renaissance art. In the Middle Ages, serfdom was abolished. Independence. The Medici family was a family of usurers (bankers) Οʜᴎ attracted creative people. War with Milan. (failed)

3 moments

Sooner or later, most masters enter the path of a new realistic Renaissance art. Even old people.

All discoveries are made not intuitively, but on a scientific basis. Direct perspective and so on, the human body, proportions.

The old medieval is gradually disappearing.

Brunelleschi's building occupies only one side of the square, two other buildings appeared later, but their architecture is aimed at the facade of the educational house, so that the result is an urban ensemble.

How to recognize the work of Brunelleschi - there are Andrea Della Robbia medallions made in majolica technique. These medallions speak of the purpose of the building. Initially there were none. The appearance that Brunelleschi did everything, but in fact, only the orphanage.

The building does not rush to the heights, is commensurate with growth, it is not the vertical division that dominates, but the horizontal one. The building is connected to the land. The building has 2 floors. 1st floor arcade a la antique. 2nd floor - the wall is cut through with small rectangular windows. Not narrow lancet. Above each window is a triangular sandrik (protrusion) similar to an antique pediment.

A color-contained building.

In contrast to the Gothic, when the building seems to be fenced off from the world, Brunelleschi's building is open to the city.

The openness is as it turned out: Brunelleschi's chip is light, the vaulted vault, the columns are thin, and the intercolumns (the distance between the columns) are wide. He also loved the free, clean, uncluttered surface of the wall. He limited himself to the console. This is Brunelleschi's signature move.

Florence Church of San Lorenzo. Construction of the Old Sacristy (Old Sacristy). This is the tomb of the Medici Family. This is the first Renaissance centric domed building. San Lorenzo is a basilica. The left corner is an old sacristy. Drawn view.

The use of an order in the interior is not only outside, but also inside. Not columns and pilasters. Why is a warrant needed? Emphasizing the appearance of flesh. bearing elements. Working. A wall has appeared. She is now a carrier element. The order is proportionate in accordance with human growth. A person in this interior is very comfortable.
Pilasters hold the horizontal, nothing hangs. Everything is logical. Not a single form hung. Coat of arms of the Medici family - pills on the shield.
The central zone of the sacristy is occupied by a gravestone. Perception in motion. Like in goth.

ARCHITECTURE OF THE FIRST HALF OF THE 15TH CENTURY, somewhere in the 30-40s. The old one is still there.

Pilasters and entablature are dark, and the wall is light. There is a lot of HER and it seems to dissolve, and it all resembles a gothic frame system. The dome is like ribs. The dome is a renaissance form. But the ribs and the color of the ribs are an analogy with Gothic.

Gothic rose. She hung, but Brunelleschi did not hang. But there is an effect of nervousness.

Church of Santa Croce. Close to the Pazza Chapel. G. Florence. Dome building. The entrance to the chapel resembles a Roman triumphal arch. Umbrella domes are a feature of Brunelleschi.

Dome at the Cathedral of Santa Maria Del Fiore. The cathedral was founded at the end of the 13th century. Conceived as a basilica huge dome. Baptistel - baptismal San Giovanni shrine of the city. And they decided to perpetuate the aktogon (the polygon on which the dome rests) baptisteles in this dome. For a little over 100 years, the cathedral was erected. The company began to build Giotto. In the 15th century, only the dome remained to be erected. Nobody knew how to build a dome. The drum is too thin. Brunelleschi was invited as an expert and said that it was possible to finish and suggested how to do it. The dome had to be light and strong at the same time. He proposed to build a dome from two shells interconnected by ribs vertically and horizontally. There are also ribs under the brown tiles. And there are horizontal ribs. Inside the dome is almost hollow. It's like honeycombs. He is light. Between 2 shells almost 10 meters. The higher, the thinner the voids.

The inner shell has a lancet shape and the outer one is more gentle. Covers the inner arrow. Inside the gothic tent - outside the Renaissance dome. The outer shell covers the inner from leaks. The thickness of the shells is different. The inside is thicker. Brunellessky even invented masonry. The space of the cathedral is gigantic. The inner shell of the dome is still a tent.
Hosted on ref.rf
Rocket going up. The dome inside was painted in the 16th century. Author Giorgio Vasari (the one who said that we live in the era of rhinoshimento)

The dome was completed in the 30s of the 15th century. There was no fanarix at first. It was erected after the death of Brunelleschi in the 60s. According to the drawings of the master. Flashlight as a design castle. He came up with the designs on which the workers worked. Floor by floor.

Flooring that hung in the air. Were deep into the masonry.

Michelangelo in the second half of the 16th century. Dome for comparison

Philippe Brunelleschi. Educational House in Florence. The first Renaissance building in the city. Early 20s. The humanist Leonardo Bruni proposed to build an orphanage. - concept and types. Classification and features of the category "Philippe Brunelleschi. Orphanage in Florence. The first Renaissance building of the city. Early 20s. Humanist Leonardo Bruni proposed to build an Orphanage." 2017, 2018.

Object architecture

Sources:

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