Sixteenth century architecture Medici palace in Florence and Renaissance urban Palace designed to imposing

Oct 16, 2019

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The Medici Palace

The role of Brunelleschi's in the Medici palace in Florence, started in 1444, and is unclear. According to the sixteenth century painter, architect and biographer Giorgio Vasari, the model for the palazzo or palace of Brazilians was rejected by Giorgio Vasari the Elder as very grand, who later nominated Michelezza di Bartolommeo, who had accepted him by most scholars. The building's designer. In any case, the palace established a tradition for the Italian Town House, with an interesting variety, being the standard for a century. Considering the political and religious thinking of Florence, the plain part was strongly influenced by the Christian ideals of poverty and charitable organization. Like many other European cities, there were Florence's property laws, which prohibit the spectacular display of wealth - but they were often ignored. Under Florentine law, for example, private homes were limited to a dozen rooms; Kosima, however, acquired and demolished twenty small houses to provide a site for its new residence. With large scale and detail, the building was built around the Central courtyard surrounded by loggia or surrounded gallery. The ground floor on one side was originally open on the street by large, rounded arches. Although these arches were in the wall in the sixteenth century and the windows designed by Michelangelo were visible, it is still visible today. The facade of huge, rusty stone blocks - that is, their outer faces were rough, the characteristic of the Florentine Town House exterior - were derived from the fortifications. Stories on the entrance to the palace are clearly closed from ground to very rough on the third part of the ground, with a change in the stone surface to smooth. Inauguration of new monument and plan regulars in the urban architecture of the Medici Palace.

Renaissance Palace Design

The Noble Families of Italy's Early Renaissance created many magnificent urban palaces, many of which were designed to impress. The front face of the building gives signals to what lies behind it: for example, a large central door indicates power; Debris debris indicates strength and fort fortifications; Precious marble and / or relief sculpture suggests wealth; A cartoon, along with the family's coat-arms, is an impressive symbol of cuisine. Most of the Renaissance palaces use design made of ancient Greek architecture or ancient Roman buildings - docile, ionic, or Corinthian orders, decorated buildings and other elements - in the style known as classicism. For example, in Palazzo Farnese in Rome, Made for Farness, one of which, Cardinal Alessandro Farnese, became Pope Paul III in 1534. This young man, Michelangelo and Giacomo della porta, was designed by Antonio da Sangallo, this huge building was settled. A large open public square, or Piazza's head and dominion. The palace's three stories are clearly defined by the two-dimensional horizontal bands or string courses. Many layered cornices sit on a facade like a huge crown. Moldings, cornices and intricate are furnished with classical motifs and furnace family coat-of-hearts with lotus made of. The large central doors emphasize the elaborate rusticated stonework, and are mastered by a balcony suitable for formal appearances by the owners, on which cartoons are arranged with, furnish weapons. Each story of Windows is used differently: On the ground floor, twelve windows sit on a sturdy scrollable bracket, and the window is at the top with Hades archives. The story above is directly known as the Piano Boat in Italy, or the first floor, in which the largest - or "noble" - is the room. Its bar windows are decorated with triangular and arched pediments, supported by a pair of half columns connected to the Corinthian order. The second floor has thirteen windows, all with triangular permits, who’s auxiliary Ionic Half Columns are set on the echoing brackets under the windows on the ground floor.