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The architecture of the renaissance in Italy - a general view for the use of students and others (1909) (14577451640)
Summary
Identifier: architectureofre1909ande (find matches)
Title: The architecture of the renaissance in Italy : a general view for the use of students and others
Year: 1909 (1900s)
Authors: Anderson, William J. (William James), 1864-1900
Subjects: Architecture, Renaissance Architecture
Publisher: London, B. T. Batsford
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University
Text Appearing Before Image:
orm), and also the late Romanesque andGothic innovation of an arch over a lintel, instead of the Romancomposite method of lintel over arch. For this distinctivelyRoman fashion does not appear in the Florentine work of theEarly Period which is under consideration. The compositearcade of these Florentine architects, where it does exist, ismade up of a main pilaster and subsidiary columns to carry thearches, instead of a main column merely to carry a decorative EARLY RENAISSANCE CONSTRUCTION. 43 entablature, backed by an arcade formed in a wall which doesthe constructive work, as at the Colosseum, and Roman workgenerally (Plates 38 and 58). Thus a Romanesque or basilicansystem is followed rather than a Roman one, and although theentablature frequently surmounts a row of arches, it does not pro-trude, or if so, not more than the projection of a flat pilaster, andmuch less than would be required properly to load a half or three-quarter column (Plate 10, Ospedale degli Innocenti), seen also
Text Appearing After Image:
CORTILE OF THE DuCAL PaLACE, UrBINO. Baccio Pontelli, Archt. in the Ducal Palace, Urbino. It is, therefore, not in the leastobtrusive, and a much more logical treatment. Of coursethe arcade fails in stability, except at the points where thepilaster is employed, and this cannot well be done at each divi-sion. Further, in the Palazzi Antinori, Pitti, Riccardi, andStrozzi, an attempt is made to work out an arcuated style with-out dependence upon the classic orders, which merits every praise.In this, as in other respects, the palatial style of Florence maybe said to be more truly an Etruscan than a Roman revival.Large stones, the use of the arch and great simplicity andsolidity of construction were the characteristics of Etruscan 44 THE FIFTEENTH CENTURY IN FLORENCE. buildings, and they are no less typical of the Florentine town-houses. In constructive principle, the early Renaissance iseclectic, employing the wagon vault, pendentive dome, crossvault, open w^ood roof, and beamed ceiling i
The Etruscan civilization was developed by a people of Etruria in ancient Italy with a common language and culture who formed a federation of city-states. After conquering adjacent lands, its territory covered at its greatest extent, roughly what is now Tuscany, western Umbria, and northern Lazio, as well as what are now the Po Valley, Emilia-Romagna, south-eastern Lombardy, southern Veneto, and western Campania. The earliest evidence of a culture that is identifiably Etruscan dates from about 900 BC. This is the period of the Iron Age Villanovan culture, considered to be the earliest phase of Etruscan civilization, which itself developed from the previous late Bronze Age Proto-Villanovan culture in the same region. Etruscan civilization endured until it was assimilated into Roman society. Assimilation began in the late 4th century BC as a result of the Roman–Etruscan Wars; it accelerated with the grant of Roman citizenship in 90 BC, and became complete in 27 BC, when the Etruscans' territory was incorporated into the newly established Roman Empire.
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