Ez a Tempietto építés történetének eleje angolul:
in S. Peter in Montorio
At the beginning of the sixteenth century, Rome had some serious problems due to the enormous growth of the population and also to

The High Renaissance was the era , the beginning of the sixteenth century , in which the Italian architects , from Donato Bramante began to analyze and re- interpret the architecture of 'ancient Rome with precision and attention to detail.

They did not try to copy the old buildings of the past but to learn from them , and their period was a time of great innovations , inventions and discoveries. The architects themselves were legendary men of the Renaissance, at the same time sculptors, painters , poets , engineers , military, soldiers and writers. This was a period in which to start a new kind of architecture and bold look to the future .

Előzmény

Válasz

The Temple of Bramante was " stuck " in the courtyard of the monastery of San Pietro in Montorio : This is a tiny building , perfectly constructed , based on the design of the Temple of Vesta in Tivoli , (see picture and description below).

The ' Temple of influence was incalculable : the idea is not only the inspiration for Michelangelo's dome for St. Peter's Basilica at the Vatican, but also for the dome of St. Paul Wren , the dome of the Capitol in Washington DC, Hawksmoor 's mausoleum in the Castle Howard in Yorkshire, England , the Pantheon in Paris, the Cattadrale of the Virgin of Kazan in St. Petersburg , to name only the most famous works constructed during the three hundred and fifty years that followed.

The Temple also became an example for other architects such as Palladio , who cataloged the building of Bramante with those of ' antiquity.
the Temple

The area on which now stands the church of Sant'Andrea della Valle square was defined by the so-called " Siena " because the building did

The transition from the Early Renaissance to the High Renaissance is clearly demonstrated in the Temple of Bramante in 1502 . This chapel was designed with a circle of pillars round about the temple was part of a courtyard of the church of San Pietro in Montorio , as shown in the map below. Unfortunately the columns surrounding the temple were never built and, therefore , it appears much more isolated than it would have been if the project had been completed as designed . In that project Bramante intended to place the temple in an outdoor space that already exists and already ready to receive such a building , a concept rather radical and bold as the Temple itself. In fact, his nickname seems well deserved and very appropriate : the three steps to the platform and in the severe Doric columns of the Temple is connected and brings to mind more than any other building of the fifteenth century, the classical architecture. Equally brilliant and amazing is the principle of the concept of " wall sculpture" in the temple that is in the interior of the church balcony . In fact, they were never seen such deep niches carved out by huge masses of material , from the days of Brunelleschi in Santa Maria degli Angeli. These cavities were offset by the convex shape of the dome and cornices projecting beyond the dome itself .

As a final result , the Temple had much more weight and influence than is contained in its modest size .
The purpose of the project was the Temple only to indicate the place where St. Peter was crucified ( a theory that has never been proven to be true ) .

Rather than copy and repeat motifs of classical antiquity , Bramante used his knowledge of perspective and volume to create this elegant and harmonious building . He also redesigned the surrounding courtyard , but his project was never completed .

Előzmény

Válasz

The temple is a circular building with steps leading to the Doric columns and from there to a balustrade, a delightful drum and an elegant dome . Here, finally, is a building that speaks of reason and civilization , rather than fear and religious domination . Of course, the religious intolerance continued but the architecture did his best to look or go towards a more civilized world than the one ordered by the Church at the beginning of the sixteenth century.

This miniature jewel is located in San Pietro in Montorio (so called from Mons Aureus for the marl golden characteristic of his land ) , the church dedicated to the martyrdom of the Apostle.

Passing the door of the convent building appears , lonely and monumental despite its small size : arouses in the visitor a sense of mystery to that aspect of ancient warrior enclosed everything in himself , imprisoned in his splendid armor. Maybe it's there to guard a secret , you'd think . Described as " the prose of the architectural principles of Vitruvius ," given that both Bramante had studied the works of the great Roman architect of the first century BC that the mighty ruins of ancient Rome and gifts , in reality it has nothing theoretical nor canon expresses only the happy creative vein of a sixteenth-century painter and architect who was able to give his buildings coloristic reports of chiaroscuro and lyrically granted never seen before. Now the little warrior stone is tight, almost a prisoner of the narrow space of the courtyard and what him immediately catches the attention are the columns , his strong legs planted with the crown of a tiny porch that come to light with respect to the gloom enveloping the cylindrical body of the warrior - temple , standing out on the bay shadow of the entrance door and windows.

The entire construction is sturdy and underlined at the same time relieved from pressing the frames and above the balustrade prepared rigorously symmetrical and clear luminous effect , ready to repeat the rhythm of the underlying sixteen Doric columns supporting the entablature .

The drum that emerges , marked by rectangular niches alternate with others in the form of a shell, the shell holds the dome covered by ribs just mentioned , as a lightweight helmet placed on the head of a fictional warrior.

The lantern that adorns the peak seems to give the illusion , for its size , the temple is lower than it actually is , confirming the intention of the author to make solid and stable mightily the Temple .

Nevertheless , the set transmits all the calm balance of classical forms collected and enclosed , just restless and ready to move and lead to a more daring solution , harbinger of future ideation of the Baroque .

The " fullness pictorial space " represented Bramante's the link to the brilliant weirdness of Borromini.

Előzmény

Válasz

Bramante , at the height of his artistic maturity , was in fact an innovator and experimenter of his time.

Growing up in the magic of Urbino where the court of Montefeltro , patrons of the greatest artists of the era such as Paolo Uccello and Piero della Francesca, was all edifying fervor that certainly the young Bramante had witnessed , he soon start and fueled his appetite for his studies in painting and architecture. Then in Milan friendship with Leonardo, who affectionately called him Donino , gave him the passion for research and the boldness to unusual solutions , and this was subsequently fed to Rome, where he arrived in 1499 from the study and admiration for the ' ancient Roman architectural art .

Vasari told how Bramante Rome free to wander practical thoughts , lonely, cogitative , finding the remains of ruins , majestic and severe. They were his source and the spark that inspired its creation as an architect and sometimes even a poet .

Donato Bramante was a leading architect of the High Renaissance in Italy : it was definitely included in the same category of Michelangelo and Raphael. Trained as a painter , he began his career as an architect in Milan, where he settled in 1482 or according to other sources , in 1474 . In his design for the church of Santa Maria, at Holy Satyr, in 1488 , he used a false perspective in the painting of the apse to create a perception of depth , which is used for the first time in architecture.

Bramante left Milan in 1499 and moved to Rome, where he remained until his death , being always employed by Pope Julius II. Here, under the influence of classical antiquity , his style became more monumental and less ornamental . His two biggest projects , but failed to complete because of his death , were the plans for St. Peter's Basilica in the Vatican and the Vatican Palace . Bramante was able to blend together the idea of classical antiquity with those of Christian inspiration : his expressive grandeur scultorica planted the foundation for more elaborate baroque architecture of the next century .

The influence of Bramante was expressed in his classical ideas and the main unit of the Renaissance that he moved to his colleagues and his many students in Rome.

Some of his most famous works over the temple at San Pietro in Montorio were Our Lady of Consolation , Santa Maria delle Grazie, the Cortile del Belvedere , and of course the design of the Greek Cross for St. Peter's Basilica , which was not brought to term to his death in 1544 : the project was built later by several other architects and was later transformed into a Latin cross to incorporate all the different religious services.

Válasz