Medici, Strozzi, Uguccioni, Gondi, and other palaces. Instead of being confined to the ground-floor, as in the Medici Palace — better known now as the Riccardi — it is found everywhere to a greater or less extent, and not only in Renaissance constructions, but also in those of the following period and even in those of modern times. Bossage constitutes the characteristic feature of Florentine architecture, especially outside of religious architecture: San Lorenzo, Santo Spirito, the Pazzi Chapel, Sant’ Andrea at Mantua and Saint Francis at Rimini. In the latter case, the character of powerful solidity gives place to a certain timidity which is full of charm, and which is in fact never wholly wanting; even in the palace of Michelozzo, this timid note is perceptible in the court which was begun in 1452.
Bernardo Rossellino was mentioned above; Renaissance art owes much to this artist. In the Piccolomini Palace at Pienza, already cited, he appears as an imitator of Alberti; at Rome, he was employed by Nicholas V, as is proved by recently published documents. This artistic merit appears in the Piccolomini Palace of Sienna, one of the most beautiful structures in the city; it is built in the Florentine style, of which it is one of the finest examples. In connection with Alberti and his collaborators (at Rome Rossellino executed Alberti’s designs), it must not be forgotten that among those who directed
the execution of his plans was the Florentine architect and sculptor Luca Fancelli, who also carried out several designs by Brunellesco, and who was in the service of the court of Mantua between 1450 and 1494. Lastly, under Brunellesco and Alberti a great throng of builders likewise were instrumental in introducing the new manner into Milan, Rome and Naples.
There are a vast number of examples of this style scattered through Tuscany. Reference has been made to the celebrated Strozzi Palace at Florence, but the fact was not mentioned that it is the masterpiece of Benedetto de Maiano, a Florentine sculptor and architect (1442 † 1497), and of Simone del Pollaiolo, called the Cronaca (1457 † 1508), who was the author of the splendid entablature. Nothing has been said of the Guadagni Palace (Figure 4a), which seems to have been by Pollaiolo also. It is partly in rustic work, partly à graffito and recalls the Tuscan and particularly the Florentine type of palaces, with an open gallery in the upper story. I have passed over all the constructions of Giuliano di Sangallo, a Florentine architect (1445 † 1516); as well as those of his brother Antonio (1455 † 1534) and of Antonio di Sangallo, the younger (1485 † 1546), his nephew, whom we find at Rome where he worked much. The family name of the last was Cordiani, of the others, Giamberti. Nothing has been said of the productions of the Florentine architect and wood-engraver Baccio d’Agnolo
(1462 † 1543), one of Raphael’s masters; and the name of the Siennese, Francesco di Giorgio Martino, one of the most remarkable geniuses of the fifteenth century has had only a passing mention. The reader is referred to special articles for details that cannot be introduced here. I regret, however, not having had space to speak of a few constructions outside of
Florence; as for instance, the beautiful Madonna delle Carceri at Prato, a Virgilian eclogue, the work of Giuliano di Sangallo, and the sumptuous church of Santa Maria dell’ Umiltà at Pistoja, begun after the designs of Ventura Vitoni da Pistoja († 1509? ) in 1497, and completed by Giorgio Vasari (1511 † 1574), after 1571.
Almost nothing has been said of Sienna, where the most beautiful edifices of the second half of the fifteenth century, like the Piccolomini delle Papesse, now the national bank, the Spannocchi Palace, the Church of Saint Catherine in Fontebranda, that of Notre Dame delle Nevi and the Loggia del Papa, erected by Pius II, are attributed, though without any foundation, to Francesco di Giorgio Martino. As for the loggia, although Vecchietta furnished the model for it, it is nevertheless clearly the work of Antonio Federighi, a Siennese sculptor (1460).
Let us turn now to Venice and Venetia. The Renaissance type of architecture which flourished in this smiling region of the peninsula is termed Lombardic, because it is in great part the work of a family of artists of Lombard origin, that is, from Carona on Lake Lugano, which then belonged to the duchy of Milan. The family name is said to have been Solari. Although the original home of the Lombardi may henceforth be considered as settled, it is by no means certain that they belonged to the Solari family, a whole colony of Lombard artists, to whom much research has been devoted. However
this may be, it is a fact that they carried architecture and sculpture to a high degree of perfection in Venice; in the development of these arts, ethnographic conditions and the traditions of the country were taken advantage of in such manner as to produce most char acteristic results. The Lombardic style is therefore easily distinguishable from that of Brunellesco, termed the Florentine, and from that of Bramante. It should be added, nevertheless, that Bramante did not confine himself, as is generally thought, to one manner. The Bramante of the baptistery of San Satiro at Milan is not the Bramante of the court of San Ambrogio; as at Rome, the architect of the palace of the Cancellaria and of the Giraud is not the architect of San Pietro in Montorio.
But to return to Venice; in the architecture of the fifteenth
century, it has been thought, and with reason, that Tuscan
Fig. 5. Riccardi Palace, Florence.
Fig. 6. Vendramin Palace, Venice.
Fig. 7. Church of San Zaccaria, Venice.
Bernardo Rossellino was mentioned above; Renaissance art owes much to this artist. In the Piccolomini Palace at Pienza, already cited, he appears as an imitator of Alberti; at Rome, he was employed by Nicholas V, as is proved by recently published documents. This artistic merit appears in the Piccolomini Palace of Sienna, one of the most beautiful structures in the city; it is built in the Florentine style, of which it is one of the finest examples. In connection with Alberti and his collaborators (at Rome Rossellino executed Alberti’s designs), it must not be forgotten that among those who directed
the execution of his plans was the Florentine architect and sculptor Luca Fancelli, who also carried out several designs by Brunellesco, and who was in the service of the court of Mantua between 1450 and 1494. Lastly, under Brunellesco and Alberti a great throng of builders likewise were instrumental in introducing the new manner into Milan, Rome and Naples.
There are a vast number of examples of this style scattered through Tuscany. Reference has been made to the celebrated Strozzi Palace at Florence, but the fact was not mentioned that it is the masterpiece of Benedetto de Maiano, a Florentine sculptor and architect (1442 † 1497), and of Simone del Pollaiolo, called the Cronaca (1457 † 1508), who was the author of the splendid entablature. Nothing has been said of the Guadagni Palace (Figure 4a), which seems to have been by Pollaiolo also. It is partly in rustic work, partly à graffito and recalls the Tuscan and particularly the Florentine type of palaces, with an open gallery in the upper story. I have passed over all the constructions of Giuliano di Sangallo, a Florentine architect (1445 † 1516); as well as those of his brother Antonio (1455 † 1534) and of Antonio di Sangallo, the younger (1485 † 1546), his nephew, whom we find at Rome where he worked much. The family name of the last was Cordiani, of the others, Giamberti. Nothing has been said of the productions of the Florentine architect and wood-engraver Baccio d’Agnolo
(1462 † 1543), one of Raphael’s masters; and the name of the Siennese, Francesco di Giorgio Martino, one of the most remarkable geniuses of the fifteenth century has had only a passing mention. The reader is referred to special articles for details that cannot be introduced here. I regret, however, not having had space to speak of a few constructions outside of
Florence; as for instance, the beautiful Madonna delle Carceri at Prato, a Virgilian eclogue, the work of Giuliano di Sangallo, and the sumptuous church of Santa Maria dell’ Umiltà at Pistoja, begun after the designs of Ventura Vitoni da Pistoja († 1509? ) in 1497, and completed by Giorgio Vasari (1511 † 1574), after 1571.
Almost nothing has been said of Sienna, where the most beautiful edifices of the second half of the fifteenth century, like the Piccolomini delle Papesse, now the national bank, the Spannocchi Palace, the Church of Saint Catherine in Fontebranda, that of Notre Dame delle Nevi and the Loggia del Papa, erected by Pius II, are attributed, though without any foundation, to Francesco di Giorgio Martino. As for the loggia, although Vecchietta furnished the model for it, it is nevertheless clearly the work of Antonio Federighi, a Siennese sculptor (1460).
Let us turn now to Venice and Venetia. The Renaissance type of architecture which flourished in this smiling region of the peninsula is termed Lombardic, because it is in great part the work of a family of artists of Lombard origin, that is, from Carona on Lake Lugano, which then belonged to the duchy of Milan. The family name is said to have been Solari. Although the original home of the Lombardi may henceforth be considered as settled, it is by no means certain that they belonged to the Solari family, a whole colony of Lombard artists, to whom much research has been devoted. However
this may be, it is a fact that they carried architecture and sculpture to a high degree of perfection in Venice; in the development of these arts, ethnographic conditions and the traditions of the country were taken advantage of in such manner as to produce most char acteristic results. The Lombardic style is therefore easily distinguishable from that of Brunellesco, termed the Florentine, and from that of Bramante. It should be added, nevertheless, that Bramante did not confine himself, as is generally thought, to one manner. The Bramante of the baptistery of San Satiro at Milan is not the Bramante of the court of San Ambrogio; as at Rome, the architect of the palace of the Cancellaria and of the Giraud is not the architect of San Pietro in Montorio.
But to return to Venice; in the architecture of the fifteenth
century, it has been thought, and with reason, that Tuscan
Fig. 5. Riccardi Palace, Florence.
Fig. 6. Vendramin Palace, Venice.
Fig. 7. Church of San Zaccaria, Venice.