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CONTENTS
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Chapter VI | ||
| Palace Architecture of the Florentine Renaissance | ||
The neo-classic ideas most extensively carried out in palatial houses—Domestic architecture of the Middle Ages in Italy—The Palazzo Riccardi—Its mediæval features—Its general form—Its court arcades—General character of the interior—Vasari's remarks on the Riccardi—The Palazzo Pitti—The Strozzino—The Strozzi—The Pazzi—The Quaratesi—The Guardagni and its reasonable character—The Rucellai—Introduction of orders in the façade of the Rucellai—The architect Alberti—His archæological and literary tastes—Alberti's initiative in the use of the orders not immediately followed—Further neo-classic innovations introduced by Baccio d' Agnolo—Milizia's remarks on these innovations—Increase in the spirit of display in domestic architecture—Decline of Florentine ascendency by the beginning of the sixteenth century—Artistic activities transferred to Rome—Erection of sumptuous palatial houses in Rome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Chapter VII | ||
| Palace Architecture of the Roman Renaissance | ||
The Cancellaria—Its attribution to Bramante—Exhibits features in further conformity with the Roman antique—Its pilasters in pairs—Its projecting bays—Its portals—Arcades of its court—The Palazzo Massimi—The functional order of its portico—Treatment of the upper façade—The Palazzo Farnese—Application of orders and pediments to the windows—The broken entablatures of these windows—An ancient example of similar treatment—Orders of the court—Awkward result in the angles—Rhythmical scheme of the cloister of Santa Maria della Pace—Lack of reason for this scheme—The architect Sansovino—His design for the Library of St. Mark at Venice—Treatment of the angles of the Doric order—Free-standing column in the order of the upper story—Sansovino's design for the Loggetta of the Campanile—His design for the Palazzo Cornaro—Sanmichele—His design for the Porta del Palio at Verona—His design for the Palazzo Canossa—The Palazzo Pompei alia Vittoria—The Palazzo Bevilacqua—Its singular aberrations of design—Vignola's design for the Palazzo Caprarola—Influence of its circular court on De l'Orme and Inigo Jones—The civic and domestic architecture of Palladio—The Portico of Vicenza—Its derivation from the town hall of Padua and from the Library of St. Mark—Syrian instance of the freestanding column in connection with the arch—Palladio's own estimate of the merits of this design—Use of poor materials by Palladio—His versatility in meaningless composition—His palace fronts—Palladio a grammatical formalist—The art of Scamozzi—His use of an entablature broken by an arch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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