Development of the Renaissance Centralized Church Plan Essay

Analyze the development of the centralise church plan in rebirth architecture (15th and 16th centuries). In your examples, include an analysis of meaning and signism.During the Renaissance period, cutting concentrate church plans developed as a result of a more scientific approach to nature. The idea of precise proportions and measurement emerged through Vitruvius theory regarding human anatomy. Vitruvius described how human torso, with extended arms and legs, fits perfectly into the more or less basic geometric shapes circle and lame. This concept triggered the minds of artists during the Renaissance to take on a new approach for church plans (Honour and Fleming 444-445). However, it is not until the fifteenth century that the centralized plan was regarded as a divine expression when Alberti discussed scientific method of maintaining Gods image through numerical approach in De Re Aedificatoria, a treatise containing the first full program of the ideal Renaissance church (Ta vernor 30).From Albertis perspective, a centralized plan should reveal Gods symbol while keeping pure forms of absolute mathematics in the structure, therefore the Greek-Cross figure is favored (Heydenreich 36). His theory enticed many others to realize the importance of the Greek-Cross planning method, and this is reflected in works such as S. Sebastiano, maria Della Carceri and St. light beams. Thus, the Greek-Cross centralized church plan was developed, that became the divine figure for Renaissance architecture.The development of Greek-Cross plan is derived from Albertis suppositious demands based on Vitruvius basic principles of accuracy and proportions. In the early sixteenth century, Vitruvius began answering minds regarding how a makes proportion is constructed through human anatomy (Wittkower 22). Such question is further raised through Vitruvian figures drawn within a squ ar and circle became a symbol of the mathematical tellingship between man and beau ideal through geometry (Wittkower 25). Alberti, who suggested that to obtain architectural perfection, one must follow the basic laws of consent and proportions, expanded on these early ideas. In his treatise, he had defined the laws of symmetry and proportion through the physical characteristics of the human body (Tavernor 40).There, he combined a square and circle to generate the image of the geometrical shapes in relation to human anatomy, identical to Leonard Da Vincis drawing of a man with outstretched limbs located within a circle and square (figure 1). Albertis pattern was to clarify the ideal architectural beauty for others during the time, through accuracy and precision (Tavernor 40). The Greek Cross central plan is developed through three transformations from the square, square plus one-half, square plus one third, and the square doubled (Murray 58).If these square ratios are applied to architectural plans, more complex figures can be produced afterwards the centralized Greek Cross plan was developed and was a visible expression of the Divine Proportion. (Smith) Albertis obsession over geometrical perfection complicated applying his theory within the interior structure as well. For example, the height of the w tout ensemble up to the vaulting in round churches should be one-half, two thirds of three billet of the diameter of the plan. These proportions of one to two, two to three, and three to four conform to Albertis law of harmony, written in his treatise (Murray 58 58).It was Alberti who expressed the theory of beauty in his writing, which became so influential for the High Renaissance. He defined beauty, harmony and concord of all the parts, so that nothing could be added or subtracted except for the worse (Smith). From Albertis explanation, the symbolism of the Greek Cross is regarded as a splendid and natural figure, representing every aspect of God due to the precise measurements on all sides of the shape. Therefore, Alberti argued lulu will result f rom the beautiful form and from the correspondence of the whole to the parts, of the parts amongst themselves, and of these again to the whole so that the structures may appear an entire and complete body (WIttkower 31). He believed to thoroughly appreciate Renaissance architecture, one should understand architecture is not based on theories of function but rather stead it as mathematical theory of proportion (Smith).Another significance from the Greek Cross central plan is signifying the development of Renaissance architecture. For Alberti and architects of the Renaissance, the emphasis on classicism is ideal, which challenges a different approach from the previous. Pursuing mathematical order and simplicity of pure whites have replaced the papist gothic style churches (Heydenreich 27). Also, the prominence of classical features is more desirable for Albertis theory of proportion so that all sizes and shapes are defined. A clear example of Renaissance classicism is S. Sebastiano , where Alberti used Greek-Cross plan that shows almost all of his own theoretical requirements as well as several classical elements in the architectural design (figure 4) (Murray 59).Albertis argument for incorporating classicism, a high escape of steps and pilasters at the temple front is best supported by architect Palladios correspondence with Albertis ideas buildings in which the supreme Being is invokved and love should stand in the most noble part of the city, raised above the rest of the citythey ought to be built so that nothing more beautiful could be imagined and those who enter should be transported into a kind of ecstacy in admiring their grace and beauty. Buildings dedicated to the omnipotent God should be strong and everlasting (Wittkower 31) This idea of uprise above is coherent to Leonardo Da Vincis principle, which he adhered to in all his designs (Wittkower 26). S. Sebastiano exemplifies the meticulous image of Renaissance beauty, and developing architectural style beyond the Roman gothic style (Smith).Another example of a building resembling absolute proportion is St. Maria Della Carceri, designed by architect Giuliano Da Sangallo. by and by Albertis treatise on architecture was published in 1485, the centrally planned church became popular. Many architects during the Renaissance conformed to his law of harmony. Within the same year, the church of St. Maria Delle Carceri was the first Greek-Cross structure built. The entire interior and exterior description of Giuliano da Sangallos church complies with Albertis theoretical demands, demonstrating the push Alberti made through his result (Wittkower 31).The plan for St. Maria Delle Carceri is based on the two elementary figures of square and circle, where the depth of the arms is half their length and the four end walls of the cross are as long as they are high, therefore forming a perfect square (figure 2). The structure contains desirable emblematic feature by integrating a dome in t he center. It appeals more to Christianity to represents closure towards heaven or Gods presence. The grand church is viewed as a majestic simplicity, the undisturbed impact of its geometry, the purity of its whiteness are designed to evoke in the congregation a consciousness of the presence of God of a God who has ordered the being according to immutable mathematical laws, who has created a uniform and beautifully proportioned world, the consonance and harmony of which is mirrored in His temple below. (Wittkower 31)Donato Bramante was another architect who responded to historians theory concerning centralized plan. His designs are similar to Leonardo Da Vincis drawings on centralized plan, where he sketched numerous centrally planned forms and illustrates complex geometrical forms from the first simple shape (figure 5). Da Vincis intentions were interpreting Vitruvius explanation more accurately through visual art (figure 1) (Wittkower 25). The importance of these drawings reflec ts Da Vincis conscious theoretical speculations for which a new technique of representation is produced (Wittkower 25). Although Da Vinci did not build anything, through his illustrations, Bramente was profoundly influenced that affected the sixteenth century approach. It is apparent that those drawings allowed Bramante to comprehended the versatile of geometrical shapes, influencing architecture (figure 4) (Honour and Fleming 444-445).There is even evidence to believe that Bramantes early design for St. Peters was much influenced by Leonardos drawings of centrally planned structures. (Honour and Fleming 444-445) When Bramante was appointed to redesign the Saint Peters at the beginning of the sixteenth century, he envisioned the new it as a grander version of his previous architectural design a central, Greek cross plan building.The design must continue the ancient Roman tradition of domed temples, therefore St. Peters is crowned by an enormous dome. Bramante, like others before hi m, combined the symbol of the Greek cross with the symbolic values of centralized geometry. (Wittkower 34). Bramante submitted his Greek cross design on a large scale, which reflects Albertis humanist-Christian idea in pure form. In Renaissance thinking, Bramantes St. Peters central plan and dome also symbolized the perfection of God (Honour and Fleming 444-445). Certainly, so overwhelming was Bramantes design that none of his successors could divert his influence (Honour and Fleming 444-445).The impact of the Greek cross was enormous for the development of Renaissance centralized plan. The geometrical figure is a result of Albertis in depth mathematical approach of viewing nature (Tavonor 42). Many Renaissance architects utilized the Greek Cross plan due to Alberti and other historians theory regarding obtaining architectural beauty. For them, comparing building structures to human anatomy proportion was essential in defining what is ideal. More importantly, the Greek cross symboli zes divinity. Vitruvius also discussed the relationship between the human body and geometry, which is life-or-death for the creation of the Greek cross (Wittkower 25). Such explanation expanded by Alberti influenced the formation in several significant churches, such as the Maria Della Carceri, St. Peters design and S. Sebastiano. Architects who designed these churches corresponded with Albertis argument, therefore demonstrating the wide acceptance of the Greek Cross.MLA CitationsHeydenreich, L. Architecture in Italy, 1400-1500. rev. ed., New Haven, 1996.Honour and Fleming, The Visual Arts a History, 4th ed, 1995, 444-445.http//www.phs.poteau.k12.ok.us/williame/APAH/readings/Bramantes%20Tempietto,%20St%20Peters,%20Michelangelo.pdfMurray, P. The Architecture of the Italian Renaissance. London, 1963.Smith, Bernard. University of Melbourne. University of Melbourne. Print. http//shaps.unimelb.edu.au/public-resources/database-resources/bernardsmith/lectures/BSmith-HighRenaissance.pdf.Ta vernor, R. On Alberti and the Art of Building. New Haven, 1998.Wittkower, R. Architectural Principles in the Age of Humanism. 3rd ed., London, 1962.FiguresFigure 1 Da Vincis human anatomy drawing http//www.centopietrevenice.typepad.com/ca_centopietre_bed_and_br/2009/11/leonardothe-vitruvian-man-between-art-and-science-accademia-galleries.htmlFigure 2 S. Maria Della Carceri centralized plan by Giuliano Da SanglioFigure 3 S. Sebastiano front viewhttp//architecturetraveljournal.blogspot.ca/2008/02/san-sebastiano-mantua.htmlFigure 4 S. Sebastiano centralized planhttp//www.studyblue.com/notes/note/n/14-italian-renaissance-ii-/deck/2633566Figure 5 Leonardo Da Vincis drawing on centralized planhttp//www.art.com/products/p12016104-sa-i1452778/leonardo-da-vinci-sketch-of-a-square-church-with-central-dome-and-minaret.htmFigure 6 Bramantes St. Peters designhttp//mexichino-jr.blogspot.ca/2011/06/bramantes-st-peters-rome.html