[SW

I
 Colour picture overleaf:
Architectural fantasy in Renaissance painting.

Extract from Albrecht Altdorfer's work .Susanna Bathing"

,
(1526)-

Alte Pinakothek, Munich. Photo by Blauel-

MS

W-
BUILDINGS OF EUROPE

RENAISSANCE
EUROPE
With an Introduction by

JAMES LEES-MILNE

Edited by

HARALD BUSCH AND BERND LOHSE

With Commentaries on the Illustrations by

HANS WEIGERT

LONDON
B.T. BATSFORD LTD
 TRANSLATED BY PETER GORGE

FIRST PUBLISHED, 1961

ALL RIGHTS RESERVED

© UMSCHAU VERLAG FRANKFURT AM MAIN i960

PRINTED AND BOUND IN GERMANY

BY BRONNERS DRUCKEREI (INH. BREIDENSTEIN) • FRANKFURT AM MAIN
FOR THE PUBLISHERS, B. T. BATSFORD LTD.

4 FITZHARDINGE STREET, PORTMAN SQUARE, LONDON, VV. x

 INTRODUCTION

No European people more jealous or more resentful of their past than the Italians. Their history haunts
are
them like a nightmare and is for ever asserting itself. On all sides they see reproachful reminders of the
great achievements of their forbears. It is the penalty which these heirs to a rich civilization cannot escape.
All they can do is to improve upon the past. The consequences are that from time to time they are spurred
to frantic emulation; and a rebirth of intellectual, scientific or artistic effort is the result.

As early as the eleventh century the Italians were looking across the intervening dark ages back to the
glories of Augustan Rome. The Tuscan Romanesque architecture of their century may have been an
unconscious, as it was certainly an untutored, attempt to follow the style of the ancients as though it had
never been lost from sight. The Romanesque slid into the Gothic style which, however, the Italians never
properly understood nor even liked. It is true that there are plenty of Gothic monuments in Italy. Architectur-
ally they are inferior to the Gothic cathedrals and churches of northern Europe, even though they excel in
the quality of their sculptural embellishments and all sorts of decorative treasure. We sense a continuous,
ineffectual struggle throughout the middle ages to escape from Gothic bondage and revert to a classical
expression of building. In the thirteenth century Nicola Pisano deliberately attempted to reproduce classical
motifs in, for example, the pulpit of the baptistery at Pisa, and Arnolfo di Cambio in many altar taber-
nacles and tombs. These early essays were necessarily confined to fragments and did not embrace entire
buildings.

More than mere nostalgia

a for the greatness of imperial Rome was required to bring about new pro-
cesses of thought and artistic inspiration. In the fourteenth century Petrarch first opened Italian ears to an
entirely different philosophy of living to that which they were accustomed to. What we term Humanism
meant a predominant interest in the affairs of the individual as opposed to the mediaeval concern with
abstract theological argument. This Humanism was strengthened in the fifteenth century by the redis-
covery of the classical writers of antiquity. The movement was accompanied by a revolt against ecclesi-
astical tyranny over men's minds. And once this tyranny was relaxed men's eyes suddenly learnt to look
upon the physical world with fresh understanding. The poet Aeneas Silvius, later Pope Pius II (1458-64),
was, for example, the first to appreciate the beauties of landscape and nature. Alberti, the universal man,
in that his interests covered every species of science and art, was the first to write about and elucidate the
architecture of the ancients. With the dawn of the fifteenth century the Renaissance had arrived in Italy.

Italian Renaissance art and architecture were the sequel to and expression of the new philosophy. For the
first time in the annals of Christianity religion ceased to be the exclusive inspiration of artists and
architects. Not until the late sixteenth century, after the terrible upheaval of the Reformation had roused
the faithful to cherishwhat the godless were overthrowing, did religion once more become the mainspring
of art. Then the Catholic Church was to reaffirm its paramount influence through a new manifestation of
art, which we term the Baroque style - a style which belongs to a later period than that under review.

Meanwhile men were unashamedly enjoying the delights of physical existence which artists were investing
with the old pagan attributes. The plastic arts, which do not accord with the ascetic spirit of mediaeval
Christianity, were now given full rein in the painting of mythological as well as of religious subjects, in the
sculpture of the nude, and in the architecture of classical forms.

There is perhaps no volte-face in the whole history of art more compelling and more complete than that
brought about by the architecture of the Florentine Brunelleschi. This astonishing man, born in 1377, HUP

was, as Vasari put it, "given to us by heaven to infuse correct form into architecture". At one blow, so to

m
speak, the Gothic style was overthrown and the antique reinstated. We must not, of course, suppose that
the Brunelleschian classical was, in spite of Vasari's enthusiastic claim, of that academically correct sort
which later generations were to perfect. It was none the worse for its comparative primitiveness. It is even
the better, for it displays a spontaneity, a freshness and a linear purity which no succeeding classical
architect has ever achieved. The originality of Brunelleschi's San Lorenzo and Cappella Pazzi is over-
whelming. These buildings express the spirit of his own They are
time rather than that of the ancients.
logical and geometrical in conception and execution. Alberti, his compatriot but a younger man, ad-
mittedly evolved a rather more correct style because he was more deeply versed in the rules by which the
ancients worked. His Palazzo Rucellai, in which three orders are used, was considered by his contemp-
oraries and succeeding generations the pattern of what a classical building should be.

The movement so faultlessly started in Tuscany spread to Lombardy, where at first it was expressed in

a wealth of detail less pleasing than sophisticated. If Michelozzi's Capella Portinari in San Eustorgio at

Milan evinces the which was Brunelleschi's interpretation of the classical, albeit encrusted
verticality

with strips of carved candelabra, winged angel heads and dolphins, the famous facades of the Certosa di
Pavia and of the Cappella Colleoni at Bergamo teem with a jumble of decorative motifs like the windows
of a provincial jeweller's shop. There is no apparent limit to nor correlation between the superabundant
sculptural relief, which is, as it were, still subject to the exuberant emotionalism of Gothic art. Bramante
towards the end of the century moderated this hysterical propensity to embellish the surfaces of Lombardy
churches, as we may judge from his Santa Maria della Grazie in Milan. Around the year 1500 he moved to
Rome where he built in a purer style still and, as the result of first-hand study of ancient remains, in-
augurated what is called the High Renaissance of architecture. As the paragon of classical fitness, entirely
upon basic architectonic forms, his Tempietto at San Pietro in Montorio has no parallel.
reliant for effects
What Bramante had achieved for classical architecture in Rome, Sansovino, to a lesser extent, was to
achieve in Venice.

The phase of Italian Renaissance architecture coincided with the daring experiments of Michelangelo and
last

the Mannerists, which ultimately led to the Baroque of the seventeenth century. Even so the Renaissance
style did not pass into total eclipse. In Andrea Palladio and Vincenzo Scamozzi, who were contemporaries
of the Mannerists, the tradition established by Brunelleschi and developed by Bramante found followers.

ThePalladian style, consciously based upon the extremely circumscribed doctrines of the Latin engineer and
author, Vitruvius Pollio, survived both the Mannerist and Baroque eras to re-emerge in the Neo-classical
of the eighteenth century.

Outside Italy the course of Renaissance architecture is not always easy to determine. In several European
countries a revival of classical building methods was hardly experienced at all before the eighteenth

century. In the northern countries especially a very bastard version, a sort of hang-over from the mediaeval,
was the customary echo of the Italian style. In France alone the Renaissance took a fairly recondite turn.
In the sixteenth century French architects travelled direct to Italy to study the antique for themselves.
Italian architects for their part went to France. During the repeated invasions of Italy victorious French
troops despoiled her cities with considerable profit to the art of their own country. After a rich and un-
discriminating period in which Italianate details were applied haphazard to Gothic structures, a number
of truly classical architects arose in France soon after the death of Francois I. Bullant, Delorme and
Lescot in the second half of the sixteenth century, and the Mansarts in the seventeenth, raised buildings
which are essentially French, but fundamentally in the classical idiom. Many of them are masterpieces of
European architecture. In other words, the innately sceptical and anti-clerical character of the French was
quickly attracted by the pagan spirit of the Renaissance.

In Spain the situation was the very reverse. The Spaniards have always been the most devout race in
Europe. The presence of the infidel Moor in the peninsula was a constant spur to their militant Catholicism.

IV
The under one banner and kept Humanist unorthodoxy
vigilant Inquisition rallied the native population
well at bay. Mythology and paganism were held at a discount. There are few absolutely Renaissance
buildings in Spain. The Palace of Charles V at Granada is very frequently quoted as an example because
it is practically the only one. The sixteenth century witnessed the appearance of innumerable buildings
in the Plateresque - a kind of ornamental Moorish-Gothic style - and the seventeenth and eighteenth
centuries, because of the devotional character of the people, in the Baroque. In Portugal too, pure Renais-
sance buildings can be counted on the fingers of one hand. The Chapel of the Conception at Tomar is one
of them.

Buildings in post-Reformation Germany seldom assumed true classical forms. In spite of a strong incul-
cation of Humanism, of which Erasmus, Reuchlin and Melanchthon were no unworthy prophets, German
Renaissance artists did not assimilate the classical spirit. Durer, Holbein and Cranach remained Gothic.
Owing to Lutheranism there was little ecclesiastical building in the sixteenth century, and owing to the
Thirty Years War practically none before the late seventeenth century. Sustris's Michaelskirche in Munich
is a notorious exception, because, being a Jesuit church, it is cosmopolitan. Even so the facade could never

be mistaken for a Latin composition. Domestic building before the age of the German Rococo is typified
by tall oriel windows and immense stepped gables, studded with dormers.

The same sort of architecture characterized the Low Countries, certainly until the middle of the seventeenth
century. A flamboyant, topheavy, over-ornate style was the Renaissance of the Netherlands until the
influence of Rubens made itself felt. It is seldom given to and direct the whole course
an individual to alter
of a nation's style, either in painting or in architecture. Rubens did so in both these mediums. The im-
pression which Rubens's house in Antwerp made upon his compatriots was extraordinary. To these
northern people the rather gross and ample structure seemed the indubitable interpretation of the antique.
In fact it was the outcome of the artist's careful study of the cinquecento palaces of Genoa, imbued with
his peculiar brand of monumentality. By the middle of the seventeenth century Low Country architecture
became more subtle and distinctive. Incidentally, it was to have considerable influence upon English
architecture owing to the political sympathy between Britain and the Netherlands and the long refuge of
Charles lis court at the Hague. After the Stuart Restoration men like Winde, May, and Pratt built houses,
with pitched and hipped roofs of a low, lateral type which they had first witnessed in the Low Countries
at a time when their native land was convulsed in Civil War.

To England the Renaissance had come comparatively late. The conservative and island kingdom was
deeply entrenched in mediaevalism; it was always slow to accept foreign influences. When, however,
Humanism crossed the channel in the reign of Henry VIII it flourished straightway. Grocyn, Linacre, Lily,
More and Colet may not have travelled direct to Italy; but they reverently sat at the feet of the illustrious
Italophil, Erasmus, and imbibed his teaching. The reign - at least the early part of it - was accompanied
by a thrill of learning as scholars discovered to their pupils the authors of antiquity, and poets composed
sonnets and lyrics in the Petrarchan metre. Gradually too the secret of classical architecture was revealed.
At first it amounted to little more than the imposition of scant classical detail upon old Perpendicular
structures. The change was very gradual. The explanation is not far to seek. Acceptance of the Renaissance
was hindered by the Reformation. The young, enlightened Catholic King, who welcomed foreign intellect-
uals and artists to his court, soon turned into the middle-aged, philistine heretic, who deeply resented the
intrusion of Continental and, above all, Roman influences. Henceforth the majority of his loyal subjects
came to identify the newfangled classical taste in the arts with outlandish manners, Papistry and the
Spanish menace. It was something hostile, strongly to be resisted. So this particular style of architecture
under the Tudors for long remained tentative and transitional. In any case building was confined to the
domestic, for no more churches were needed by the Reformed religion. Instead vast country palaces were
undertaken by new families who had waxed rich on the appropriated lands of the old monasteries.

V
At the same time it is a mistake to suppose that English artists persistently cut themselves off from foreign
ideas through fear of the whore of Babylon and the Spanish Armada. On the contrary, as these bogies lost
their early terrors, both clients and architects (if the master-masons of Elizabeth's and James I's reigns can
be so denominated) avidly pored over the uncouth woodcuts of Serlio's Architecture.. They desperately
tried to reproduce Italian gateways and doorheads as embellishments to their manor-houses. It is true
that, owing to the close religious and commercial bonds with the Low Countries and Northern Germany, the
pattern books of Vredeman de Vries and Dietterlin, with their grotesque and horribly distorted patterns,
were just as popular and more readily consulted. For almost a hundred years Britain looked, in an uncom-
prehending manner, to these dubious interpretations of the antique for inspiration and guidance. As we
all know, the earliest Englishman to make serious first-hand study of Roman remains and of Italian

Renaissance architecture was Inigo Jones.

Not until 1622 when the Banqueting House in Whitehall was completed did the first really classical building
arise on English soil. The Queen's House, Greenwich, begun before but finished later, followed suit. It is
noteworthy that these and other buildings by Inigo Jones, which loudly proclaim the rules of ancient
architecture, have their provenance, not in the works of Italy's High Renaissance but in the Yicenzan
palaces of the mid-sixteenth century Palladio. England's classical architecture was never to benefit from
the pure linear verticality of Brunelleschi's or the plastic horizontality of Bramante's works. On the con-
trary, began where the Italian Renaissance left off. Paradoxically enough, its richness of invention and
it

strength of purpose were derived from the other's paucity and weakness in these respective qualities.

In spite of Inigo Jones's longevity and universal scholarship and in spite of the revolutionary change of
taste which he brought about, the buildings he left behind were remarkably few in number. In addition to
the two already referred to, his only documented buildings to survive intact are the Marlborough House
Chapel and part of Wilton House. His pupil John Webb left many noble projects on paper, but hardly
more executed works than those of his master. On his death in 1674 an abrupt, but brief term was put to
the Palladian school of architecture in Britain. For nearly half a century the genius of Christopher Wren
reigned supreme. Wren and his followers have been described as Baroque architects, but in relation to
their Italian contemporaries this designation has little meaning. In fact they looked to the France of
Louis XIV rather than to papal Italy for inspiration. Their
works doubtless represent the first national
style of building to be absolutely free from both the Gothic tradition and theVitruvian culture. During this
interlude the influence of Inigo Jones was negligible. Its revival in early Georgian days is a remarkable
contingency in the history of British architecture, and opens another entirely different chapter.

James Lees-Milne

VI
 THE ILLUSTRATIONS

RENAISSANCE MAN
(ills, i, i8, 36). The portrait of FILIPPO BRUNELLESCHI (ills. 5, 6, 7, 9). Brunel-
PippoSpano (ill. 1), a condottiere of the Florentine Republic, leschi has been called the father of the Renaissance. Born
shows the active man of the new age, sure of his own in Florence in 1377 and the son of a notary, he had a good
worth, his feet firmly on the ground. It has all the vigour education, was apprenticed to a goldsmith, and was ac-
and realism of the Renaissance. Even Donatello's St George cepted fully into the Goldsmith's Guild in 1398. In 1401,
(ill. 18) is adapted to this new concept. Both, the active he took part in the competition for the second bronze door
condottiere and the calm, critical humanist (ill. 36) are part of the Baptistery. But the order went to the more conser-
of the general picture of the time. vative Ghiberti. In Rome, Brunelleschi studied the remains
of Classic buildings. Together with the mathematician
PRELIMINARIES (ills. 2, 3, 4). The history of art Manetti, he "invented" central perspective, or, more ac-
moves pendulum. For the Middle Ages, its poles
like a curately, he penetrated its intuitive beginnings with his
might be called "Classic" and "Mystic". The Classic element scientific mind. As an engineer, he advised on fortifications.
seeks perfection and calm, the Mystic strives for images It can be said of him that he truly approached the ideal of
of redemption in the infinite. In art, this longing finds ex- the time, the uomo universale, the universal man. He died
pression, between 1300 and 1400, in a dynamic verticalism. in 1446. One of his great technical achievements is the
In the Classic phases there is at times a close approach to dome of Florence Cathedral(ill. 5). It is inspired by the

Antiquity, often by copying and re-creation. There had domes Near East. The system of construction used
of the
been many a proto-renaissance, an anticipation of the real in Florence was invented by Brunelleschi in 1418, when he
Renaissance; one around 1.200, when a strange harmony and Ghiberti had been entrusted with the design of the
appears in Gothic art, and again around 1350. In the early cupola. It rib construction is essentially Gothic and be-
thirteenth century, Germany and France developed a Clas- longs to the past, rather than the coming, epoch. But the
sic manner of their own, while Italy copied Antiquity. ribs are hidden in a double shell, and there are no support-
Frederick a keen student of Greek philosophy in its
II, ing arches. Brunelleschi had done without centering - an
Arabist form and at times distinctly opposed to Christian- achievement of the highest order at the time.
ity, built a palace at Capua, in Southern Italy, with a bridge- His next building, the Ospedale dei Innocenti - the
(ill. 6)
head (1223-40) in the form of a triumphal arch surmounted Foundling Hospital - is one of the most important examples
centrally with a figure of himself and decorated with reliefs of Early Renaissance architecture. The row of arcades, the
of his victories. The personification of the city of Capua broad cornice and the pedimented windows are like the
by a female figure and the head of Jupiter (ill. 2), are final renunciation of Gothic verticalism. But the cornice is

entirely in the Antique tradition. There is no trace of a the artist's own creation, rather than a slavish copy of
Christian theme. Antiquity; the delicate detail and the flat relief are charac-
At the Emperor's Castel del Monte (ill. 3) in Apulia - unlike teristic of the Early Renaissance, the Quattrocento.
most castles on a regular ground plan - a Gothic doorway Weightiness and strong plastic contrasts did not come until
is framed by fluted pilasters with Corinthian capitals, the High Renaissance, at the beginning of the sixteenth
which, like the cornice, are copies from Roman buildings. century. The Ospedale dei Innocenti served as a model for
To Frederick II, the Classic style was the Imperial style, many later hospitals.
because he saw in it a symbol of the continuation of the In contrast to the Northern hall churches of the time,
Imperium Romanum, the Holy Roman Empire. Jakob S. Lorenzo (ill. 7) is a return to the form of the basilica,
Burckhardt was the first to call the Florentine Late Roman- which predominated from the beginnings of Christian
esque buildings of the time around 1200 the "Proto- architecture until well into the twelfth century. Its principal
renaissance", that is, the first Renaissance. A characteristic characteristic is the nave rising above the aisles with the
example is the Baptistery (ill. 4). Its black and white marble clerestory. Instead of Gothic rib-vaulting leading the eyes
facade certainly has a "Classic" air. In the Renaissance, the upwards, there is now a straightforward termination to
baptistery, thought to date from Roman Antiquity, was the nave. The models were the basilicas of the Romanesque
considered a source of inspiration to the architect. protorenaissance.

VII
The Renaissance thus began with a retrogressive step, a LEON BATTISTA ALBERTI (ills. 14, 15, 22, 23).
look into the past. New, positive impulses did not come Brunelleschi dominated the first, Alberti (1404-1472) the
until the middle of the Quattrocento. second generation of Quattrocento architects. He was the
The Pazzi Chapel (ill. 9) was built by Brunelleschi for personification of the Renaissance ideal, the uomo uni-
Andrea de Pazzi. It was completed before the financial ruin versale,and impressed his contemporaries as a man driven
of the Pazzi family in 1478. by demons. At twenty-four, he was a doctor of law, wrote
a treatise that was like an anticipation of the Age of
Enlightement in the eighteenth century, arranged com-
petitions between poets, tried to raise a Roman barge with
an invention of his own, later devoted himself to mathe-
matics and natural science, was turned into an artist by the
sight of the fragments of Ancient Rome, cultivated all three
arts, painting, sculpture and architecture, and wrote a book

on each. His Palazzo Rucellai (ill. 22) became fundamental

in palace Lodovico Gonzaga, the ruler of
architecture.
Mantua, entrusted him with the design of the church of
S. Andrea (ill. 14), whose dome - only finished by Juvara

in the eighteenth century - makes the interior rather lighter

than Alberti intended. The building is something quite out-
side its time. The combination of aisle-less nave and dome,
so characteristic of the Baroque, did not occur again until

The basilica church of S. Lorenzo, Flo-

rence (Brunelleschi, after 1420). Balance
between nave and aisles.

Beneath a dome, that seems to float, a central compartment

is flanked by two smaller, barrel-vaulted rooms. Entrance

and altar, against all tradition, are along the length of the
rectangle. The plan recalls Byzantine churches. The ribs
of the dome, whose base is pierced by round windows, are
Gothic. All the other forms - the coffering, the arches, the

S.Andrea, Mantua, by Leon Battista Alberti (begun 1470). The aisles

have been transformed into side chapels.

the end of the Renaissance, at II Gesu, in Rome, which

marks the transition from Renaissance to Mannerism.
The coffered barrel vaulting above nave, choir and transept
is probably inspired by the Roman thermae. In contrast to
Cross section of the
Pazzi chapel (Bru- medieval cross-vaulting, it appears a static element. The
nelleschi, 1429). San short transverse barrels in the recesses are openings in the
Lorenzo, Florence.
wall rather than separate rooms, and therefore do little to

detract from the effect of one undivided space, which was

pilasters, the cornice and the medallions with their glazed the aim of Antiquity and again of the High Renaissance.
clay figures - extol Classic calm. The medallions in the There are no columns, only vast blocks of masonry artic-
pendentives of the dome show the Four Evangelists, those ulated by pilasters. Walls of such dimensions had not been
under the cornice the Twelve Apostles. They are the work built since the Romanesque.
of Luca della Robbia (1400-82), who was the first to use The facade (ill. 15), also, anticipates the distant future.
coloured pottery in Italian Renaissance sculpture. There is no parallel until Palladio's Venetian churches.

VIII

M W« 1
THE PALAZZO (ills. 20, 22-25, 9°/ 99)- Medieval (ills. 23, 25), had nothing superimposed. The High Roman-
architecture is essentially church architecture. Profane esque used blind arcades and pilasters, the Late Romanesque
structures, castles and palaces, are mere derivations. In the applied whole series of layers.
Renaissance, sacred and profane buildings assume equal In the palaces on the Capitol, in Rome, Michelangelo used
importance. First, the palazzo developed forms of its own. so-called giant orders, which rise from the ground to the
The medieval patrician house, or the town hall, was a block height of the facade. These became the general rule of the
with here and there an odd tower, to which the inhabitants Baroque, because they unify the building - an aim that
withdrew during the frequent sieges. Battlemented towers asserts itself towards the end of any phase in architecture.
with look-outs (ill. 20) increase the impression of security. The private palazzo is a cube with a pillared court (ills. 24,
The ground floor was usually an open hall or contained go, 09), the cortile, derived from the Hellenistic courtyard,
shops. The palazzo and, later, the residences of kings and the peristyle. These palaces, to their patrician owners, were
princes, developed out of this basic form. As leading the manifestation of their wealth and learning, monuments
families became less bellicose, towers and battlements were to their greatness, and thorns in the eyes of their rivals.
superseded by projecting cornices Rough-hewn, or
(ill. 22). Cosimo deTvledici said that, in fifty years, only buildings
rusticated, stone blocks - later smoothed - were used to would be left of his family's wealth and splendour.
give a martial air (ills. 23, 25). This type of masonry was
copied from the Roman aquaducts of the Campagna, the BRAMANTE (ills. 27 below, 28, 29, 82, 83) was born
walls of the Forum Augustus, and the Hohenstaufen in Urbino, c. 1444. He was a painter, master of perspective,
castles. At first, the facade was only interrupted by cor- wrote works on architecture and fortifications, invented
nices, with twin-arcaded windows rising from them. Leon new methods of vaulting and composed eighty sonnets. He
Battista Alberti also used pilasters (ill. 22) of a different built palacesand a large number of churches, which, without
order on each storey, thus causing a division into a number exception, are designed on a central plan.

The Palazzo Strozzi, Florence (Benedetto da Majano, after 1480). Pavia Cathedral (Christoforo Roachi, 1487). A 'Classic' interpretation
of space, without the orientation of the Gothic interior, is not unusual
in the Late Gothic. Like the High Romanesque triapsidal churches of
of separate fields. This is the basic principle of all early
theRhineland (St. Maria im Capitol, Church of the Apostles, Cologne),
composition. was not generally accepted until the High
It such buildings come very close to the concept of a central plan.
Renaissance. The Palazzo Farnese (ill. 90) was begun by
Antonio da San Gallo. The top storey, towards the court-
yard, was added by Michelangelo. Again, there are Doric, Ludovico il Moro, Duke of Milan, had the newly erected
Ionic and Corinthian orders. The combination of Greek choir of S. Maria delle Grazie demolished to build himself
column and architrave and Roman arch - the so-called his family's mausoleum (ills. 27 below, and 29) to Bra-
Roman system - is derived from the Theatre of Marcellus mante's design. The Duke fell from power before it was
in Rome. completed. With the original nave, only, left standing the
At the Palazzo Rucellai (ill. 22), Alberti has only super- building resembles the tri-apsidal churches of the High
imposed one layer. At the Palazzo Farnese, San Gallo has Romanesque all in St. Martin, The Apostles
Cologne, Great
used two - arcades and columns - on the central storey, and St. Maria im Capitol which also combine a central plan
as has Michelangelo above, where narrow strips of pilasters with a nave.
have been placed in front of wider ones. A similar process The typically Lombardic detail on the facade of the apse
occurred in Romanesque architecture. The earliest Renais- (ill. 29) may not have been Bramante's intention, and is
sance facades, like the Palazzo Pitti and the Palazzo Strozzi possibly the work of his successors.

IX
At the Maria presso Satiro (ill. 28), the small
sacristy of 5. LATE GOTHIC CHURCHES (ills. 38, 39, 41, 42, 54,

octagonal tower rises from a square base. Like the tower 55, 58, 60, 61, 81). At its peak, in the thirteenth century,
of the Baptistry at Florence, it has a flat octagonal dome. the Gothic was international. Architects and sculptors from
There are curved recesses in the corners on the ground all over Europe went to Chartres, Rheims and Amiens to
floor; on the upper floor the inner wall has been dissolved marvel at the richly sculptured cathedrals that seemed to
into eight twin arcades. Bramante, like Brunelleschi, has rise into the sky, oblivious to all laws of gravity. Inspired

used pre-Gothic motifs. The lavish use of sculpture is a by French churches, they created Westminster Abbey and
concession to Lombardic taste; only in his Roman buildings the cathedrals of Burgos and Cologne.
did he begin to rely on pure architecture for effect. In the fourteenth century, national characteristics became
Some works of art are a beginning, or a continuation; more predominate, and by the fifteenth, in the Late Gothic,
others are a completion, perfect in themselves. Amongst a number of national styles had emerged. The most marked
these are the High Renaissance churches built on a central separate development of the time is the Early Renaissance
plan. More so than any of them, perhaps, the Tempietto, in Italy, which showed a complete break with the Gothic

the little round chapel in the coutyard of S. Pietro in and eventually assumed European importance.
Montorio (ill. 82), on the site of St. Peter's Crucifixion. It is In England, also, the Gothic went its own way, with cur-
Bramante's maturest work: a cylinder, closed by a dome. vilinear tracery, which was to have its influence on the
The lantern is not original. The lower portion of the Continent - as were the sober shafts of the Perpendicular
building is enclosed by sixteen Doric columns, with corre- stellar and fan vaulting. The two last-named features are

sponding pilasters along the wall. The Tempietto is un- specifically, and exclusively, English. The culmination
doubtedly inspired by the round temples of Antiquity. In of this entirely separate English development, is King
the perfect balance of all its components, it is like the ideal Henry VII's Chapel at Westminster Abbey (ills. 41, 42). It
image of Renaissance Man - a creature happy, harmonious was built between 1503 and 1519, and replaced the Lady
and self-sufficient. Chapel at the extreme east end of the Choir. It is aisled,
Bramante's design for St. Peter's, Rome, speaks a similar with five chapels between the buttresses. The walls are
message. All cathedrals had been re-built in the Middle almost completely dissolved into perpendicular tracery and
Ages, except the principal church of Catholic Christendom. glass. The vaulting no longer springs from a column, as in
Its form had remained unaltered since the fourth century. ill. 39, but is suspended from transverse arches, in ac-
Its reconstruction was first planned in the fifteenth century, cordance with the Late Gothic longing to disguise and
when foundations were laid for the choir of a new basilica. overcome, rather than underline, method of construction.
In the High Renaissance, the champions of a central plan The abundance of tracery makes the ceiling appear a
seething mass. On the outside, the buttresses have been
formed as octagonal turrets (ill. 42).
Here, we have the highest sophistication and, with the
accent on suspended rather than upward striving elements,
perhaps the signs of exhaustion. Yet the tomb of the King
and his consort, Elizabeth of York, already belongs to the
Renaissance. It iswork of Pietro Torrigiani (1472-1528),
the
of Florence, and marks a step in the artist's journey through
Europe to Spain. The black marble monument was created
between 1512 and 1518. With its bronze figures and Renais-
sance decoration, it is the first example of the new style
in England.
Germany, too, went her own way. from the basilica
It led
to the hall church. In the former, the nave rose above the
aisles, and had its own source of light in the clerestory.

In the hall church, nave and aisles are of equal height.

There is equal emphasis on all parts. The vaulting, covered
with a network of tracery, leads the eye to look in all
Bramante's plan for St. Peter's, Rome (1506). A sum of equal parts.
directions (ill. 38), in contrast to French Cathedrals, where
there is one, all-compelling focal point, the altar. The hall
won the day. Bramante (see drawing) had intended a Greek church already occurs in Westphalia and Austria in the
Cross - surmounted by a dome - with similar structures on thirteenth century. By the fifteenth, it had come to domi-
a smaller scale at the four corners. This would have re- nate the form of the urban Parish Church, which had
sulted in a number of more or less independent rooms of replaced the Cathedral as the leading task in architecture.
equal importance. To have realised this Renaissance prin- The most extensive building of this kind, in red brick, is

ciple of a perfectly balanced interior is Bramante's great the Marienkirche, in Danzig (ill. 38). With its west tower,
achievement. and its subsidiary towers that surround it like halberds,

X
it was the chief monument of this city, founded by the more marked. It is scarcely possible to distinguish the tiny
Teutonic Order after 1310 and later a member of the Classic pillars with their wreathed shafts on the cornices
Hanseatic League. Building dragged on throughout the of the first The strangest feature are the
and third storeys.
fifteenth century. The flags and altars in the church - gifts masks (left, centre storey) and the monsters facing each
of guilds and leading families - are like a vivid illustration other above some of the arcades. They are like memories
of Danzig's history. of the Romanesque, when such figures were placed on the
The hall church type was also gaining ground in Spain. facade to ward off demons. It has been said before that
Whether this is an independent development, or due to the the end of the Gothic is marked by a return to the Early
influence of Dutch and German masters who were working Middle Ages, to Romanesque forms. As in the work of
there in the Late Gothic, is hard to say. Another feature of Brunelleschi, there is a retracing of the Gothic path, a
the art of the Iberian Peninsula, at that time, is the use of restoration that precedes the revolution of the Renaissance.
Mauresque forms, the so-called Mudejar style, a mixture
of French Gothic forms and Islamic ornament. The result THE NORTHERN GABLED HOUSE (ills. 44-47,
is a profusion of carpet-like patterns (ill. 81). Arcade open- 114, 117, 136, 148, 149, 160, 161, 178—180). The Italian
ings and parapets (ill. 55) are filled with ornament; window palazzo forms part of the street, but preserves its identity.

frames, as at Tomar (ill. 58), are almost choked by it. Even The Northern gabled house differs from its neighbours in
where Italian forms are borrowed, as in the church of the its more lavish decoration. Its inhabitants stand out less as

Convento dos Jeronymos at Lisbon (ill. 54), they are over- individuals from their fellow citizens than their Italian
loaded with a network of small-scale decoration. The contemporaries. The palazzo is self-sufficient and monu-
church has a remarkable history. It was built on the site mental, the gabled house speaks by virtue of its neighbours
of the house where, in 1497, Vasco da Gama spent the night (ill. 44 has Gothic tracery, though
still and built 1531,
on the eve of his journey round Africa. In 1499, on his ill. 45). The connection between Late Gothic (ill 44, right)

return from the Indies, he was received in the same house and Mannerist houses is particularly noticeable in Antwerp
by King Manuel I - Portugal's most powerful king, who (ill. 44, left) which had surpassed Bruges in importance by

conquered Brazil, and after whom the art of the whole the sixteenth century. In the Gothic, gables are crowned
epoch was named - who had vowed to found a convent if with pinnacles, in the Renaissance with obelisks. In ad-
the journey should prove successful. Work was begun the dition there is a more horizontal emphasis in the cornice.
same year. King Manuel I, his successor, and Vasco da The Knochenhaueramtshaus, the house of the Butchers'
Gama are all buried in the church. It is a hall church, with Guild in Hildesheim (1529), is still a traditional timber
net-vaulting supported by octagonal columns (ill. 54). structure (ill. 46). While the stone house usually follows
In Germany, some of the best known transitional buildings the style of the age, the timber house, both in construction
of the time are the tower of St. Kilian's, Heilbronn (ill. 60), and decoration, is essentially conservative and preserves a
and the Fugger Chapel (ill. 61) in Augsburg. St. Kilian's, tradition that goes back to prehistoric times. The town
house descended from the peasant house, because the
is

earliesttown dwellers cultivated the soil. Gradually, their

Regensburg, 'Schone Ma- place was taken by artisans and merchants. The narrowness
ria', wood model. After
of the town, confined within its fortification, made upper
1350, a reaction against
the Gothic, and a return floors a necessity. To gain more rooms, and to protect the
to the Romanesque occur- wood of the lower storeys below from rain, each floor was
red in the north, as well
made to project further.
as in Italy. Some of the
The Knochenhaueramtshaus is themost monumental of all
most famous examples of
central plans were St. German timber buildings. An arched gateway - a relic of
Certrud's, Hamburg, and the peasant house - leads into a corridor, running through
the parish church at Alt- the entire width. The first floor consisted of one large room
Ettal. St. Certrud's has
for the meetings of the Guild. Each storey decreases in
been destroyed, but an

l^TXH' ^ original
the
wood model
'Schone Maria',
of
Re-
height.
In wood-carving, prehistoric ornament - especially plait-
gensburg, survives. work - At the Knochenhaueramtshaus, Southern
lingers on.
motifs are used for the first time. At the Willmann house,
the parish church of Heilbronn, a late thirteenth century in Osnabriick (ill. 47), the dominating feature is the rosette,
building, was enlarged in the fifteenth and sixteenth cen- of Mesopotamian origin, surrounded by Germanic plait-
turies. The tower (begun 1513) is the work of Hans work bands and Romanesque billets, and separated by a
Schweiner, a highly individualistic master who was put in Classic astragal, lest there should not be enough diversity!
charge of building operations in the same year. The pro- In the Thirty Years War, 245 houses were demolished
fusion of Romanesque and Italian forms is almost Baroque. for firewood in Hildesheim. The surviving 400 were mostly
The contrast between Italian clarity and the German destroyed by bombs during the last war.
longing for the mysterious and obscure could hardly be Stone houses have their most lavish decorations reserved

XI
for the gable. Here, theornament is developed from the Geometric symmetry, the plain monumental wall, did not
Mannerist strapwork and scroll work of the cartouche. As prevail in Germany until after 1600, when, at last, the real

in the Essighaus in Bremen (ill. 148), it often spreads all nature of the Italian Renaissance began to be understood.
over the facade and dominates the lines of the obelisk- The most striking proof of its final acceptance is the town
crowned gable, the favourite motif of Mannerism, which hall in Augsburg (ills. 178-180). It was built by Elias Holl

loves upward movement. (1573-1646), the architect of a number of important build-

There is still some of this exuberance house of the in the ings in the city. He was the first Renaissance artist to
philosopher Leibniz (ill. though it was not
149) in Hanover, write his autobiography. In his own words, he had "made
built until after the end of the Thirty Years War. The a journey trough Italy, and seen the buildings in Venice".
building was the work of H. Alfers; the decoration was He returned in 1601. His first designs for Augsburg town

designed by P. Koster. The projecting bay almost dissolves hall still recall North Italian loggias; they are like memories

into ornament. of Palladio's Basilica and Sansovino's Library of St. Mark's.

In Italy, town halls are blocks with a horizontal emphasis; But all his designs - the sixth was accepted - have as their
in the North, they retain their link with the gabled house. principal feature the plain wall, which was to be the main
Usually, they stand alongside the market square, sometimes German contribution to the Early Baroque. Like Herrera's
they also face it with the narrow gabled end of the facade; Escorial, Holl's building speaks through its noble propor-
a house amongst the houses of the citizens. Occasionally, tions. Holl overcame German Mannerism, as Herrera had
they are free-standing structures, like the formerly moated risen above the confusion of the estilo mudejar.
town hall at Gouda (ill. 114), in Flanders. Its third storey, The plan, extremely simple, governs the facade. Each storey
enlivened by a wealth of turrets, gables and finials, makes contains one vast room, running from end to end. These
it the very antithesis of Italian Renaissance horizontalism, halls are flanked by staircases, surmounted by domed
and a triumph of inherited Gothic principles. The Renais- turrets. The corners are filled by smaller rooms, completely
sance outside staircase was added in 1603. A typical Ger- square, with parapeted roofs. Such lucidity was something
man example town hall at Rothenburg-on-the-Tauber
is the entirely new in German architecture. Holl's other build-

(ill. 136). Of the two parallel blocks, one belongs to the ings already show traces of the Early Baroque. But every-
Gothic, and has a tower, the other, of 1572, is a Renaissance thing was cut short by the Thirty Years War. In 1625 there
building, begun by Jakob Wolff the Elder, of Nuremberg, was no money left, in 1629 Holl had to go, because, in the
and completed by Hans von Annaberg. The rusticated words of a contemporary chronicler, he would "nicht in die
loggia was added in the seventeenth century. The turret pabstlicheKirche gehen, die wahre Religion verleugnen und,
on the gabled end of the facade deliberately introduces a wie mans genennt, sick nicht bequemen wollte" - "not enter
note of asymmetry, in adaptation of a Late Gothic motif. the Church of Rome, renounce the true faith and", - as we
Thus, in German architecture, organic growth, rather than would call it today - "toe the line".
geometry, is the guiding principle. The loggia of Cologne
town hall (ill. Dutch variant of the
161) by contrast, is a CASTLES 65-79, 110-112,126, 130, 131, 134, 137,151,
(ills.

Italian Renaissance. The Renaissance had little following 154, 155, 172, 173 above, 174). The increasing use of artil-
in Germany. Had it been otherwise, the town council of lery in the fifteenth century made the medieval fortified
Cologne would not have asked artists from Lieges, Namur castle obsolete. At the Chateau of Amboise (ill. 76) the
and Antwerp to take part in a competition for enlarging the mighty round tower on the left still recalls medieval feuds.
original fourteenth-century building. The winner was a The main building was begun by Charles VIII (1483-98),
master trained in the Netherlands, Wilhelm Vernuiken, of who engaged twenty-two Italian artists and craftsmen,
Kalkar. His hall is two bays deep and five bays wide. The amongst them painters, goldsmiths, stone masons, cabinet
similar Convent Christi at Tomar (ill. 160) remains makers and gardeners. Most of the palace has been de-
essentially Italian. At Cologne, the spandrels have been stroyed, and no trace remains of their work. In the six-
filled with figures. A further concession to Mannerist ver- teenth century, it was decided to continue along Mannerist
ticalism are the tall plinths of the columns and the aedicula lines, in a specifically French version, with a roof inter-
with the figure of Justice above the central arch. rupted by dormer windows and tall finials.

The most monumental Northern town hall is at Antwerp In 1560, Amboise was the scene of a plot by the nobility
(ill. 117). It was built 1561-1565, and is the work of Cor- and the Calvinists against the King, who is said to have
nelis Floris, one of the most influential ornament engravers massacred twelve-hundred of the conspirators. Three years
in Northern Europe. It is a long, four-storeyed building later, the palace saw the conclusion of peace between the

with an arcade below the roof. It seems almost as if the King and the Calvinists.
North had succumbed to the horizontalism of the South. The Albrechtsburg, at Meissen, and Schloss Hartenfels, at
But the obelisks and gables of the centre portion are a Torgau (ill. 66), are the last German castles built on
triumph of the Gothic tradition, of Mannerist verticalism. mountain peaks. At Hartenfels - the first extensive secular
In the uppermost niche is the Madonna, the Patron of the building in Germany since the Imperial palaces of the
city, below the figures of Wisdom and Justice, which were Romanesque - the forms are essentially Gothic, yet the
a favourite allegory in secular Renaissance art. detail, even on the compact Gothic gable, belongs to the

XII

V r:
Renaissance. The spiral asymmetric staircase, a legacy of 70, 71).Both Pierre Lescot and Jean Goujon thoroughly
the Gothic, occurs in a similar form at Blois, in the wing understood the Italian Renaissance, and yet were able to
re-built by Francis immediately after his accession in 1515
I give it an essentially French character. A national style,
(ill. 67). The staircase is not merely decorated on the both festive and rational, could thus develop.
outside with flat reliefs in the Italian manner - as at The Louvre did not become the world's largest royal palace
Torgau, to whose builders Blois was in all propability until later. Louis XIII and Louis XIV had completed the
unknown - but it also has a Renaissance parapet round square main courtyard. Louis XIV also had invited artists
the roof. from all over Europe to take part in a competition for the
At Blois, the most important contribution of the French east front. Bernini submitted a design, but the Baroque had
Court to the architecture of the Renaissance before the little chance against French Classic. Catherine de Medici
Louvre, Francis I only built one wing; in Chambord (ills. (1560-89) began the Tuileries, in continuation of the

74/75) he commissioned a huge palace, the Chateau de western part of the Louvre. They were completed under
Chambord, built amidst lonely swamps in a park sur- Napoleon I and Napoleon III. To-day, the Louvre covers
rounded by twenty miles of wall, which used to be des- an area three times the size of the Vatican. Apart from the
famous museum, it contains the French Treasury.
Francis I's fourth palace was Fontainebleau (ills. 130, 131).
Thanks to the work of Italian artists, it became the cradle
of the French Mannerist version of the Renaissance. The
huge palace was meant to surpass everything of its kind.
It consists of several wings, arranged around courtyards,

with Renaissance facades and lay-out, but rather un-Italian

pavilions above the roof line, and dormers. The architects
were Gilles le Bretons and Pierre Chambiges the Elder,
who created the Cour de Cheval Blanc, the Court of the
White Horse, named after the plaster cast of the Marcus
Aurelius statue on the Capitol. It forms the principal
facade towards the city. Delorme's once famous horseshoe
staircase was re-designed in the seventeenth century by
Lemercier.
The special significance of Fontainebleau lies in the decora-
tion of the interior (ills. 130, above and below), the work
of the predominantly Italian School of Fontainebleau. It

The chateau de Chambord (afteri$26). A formal lay-out, in adaptation was begun c. 1530. In 1531, the king engaged Rosso Rossi
of the — originally strictly functional — plan of the fortified castle.
(1494-1541), and in 1532 Francesco Primaticcio (1504-1570).
Both were natives of Florence and highly experienced in the
cribed as a hunting box. It was the King's favourite control of armies of stucco workers, fresco painters and
residence. With four hundred rooms, extensive stables, wood-carvers; they had distinguished themselves in the
kennels and falcon lofts, it was the biggest monument to decoration of the Palazzo del Te and the town palace of
Francis' enthusiasm for buildings. There is some contradic- the Gonzagas in Mantua. Rossi grew up in the school of
tion between the dramatic Mannerist roof above the centre Michelangelo; Primaticcio was a pupil of Guilio Romano,
portion and the well-articulated Renaissance facade. For who had worked under Raphael.
the first time, there is an interior, which, in contrast to the Rossi's first commission was the decoration of the king's
medieval castle, has been conceived as an ordered arran- gallery, the first of its kind and a feature of most later
gement of rooms. palaces.Though nearly 200 feet long, it is less than 17 feet
The King's third palace was the Louvre, the royal residence wide. There is wooden panelling, with a wide frieze of

in Paris (ill. 68). The original building, in its main portions painting and sculpture above. The basic motif is the
commissioned by Philippe Auguste (1180-1223), had a cartouche. Frames sprout everywhere - a characteristic
fortified tower and a donjon which stood until the seven- feature of Mannerism. Strapwork, fruit, putti and male and
teenth century. Since 1546, re-building had been in charge female figures of every size and shape, are not meant to
of Pierre Lescot. The south-west corner was first completed. symbolise anything, but merely exist to satisfy a boundless
Here, Lescot has given the French Renaissance its specific expressive urge. Rossi began, Primaticcio completed, the
character: a long front, interrupted by pavilions, surmounted work. The two Italians, in their anxiety to keep up with
by segmental gables. This type of facade was retained in the French striving for grace and elegance, completely
France until the nineteenth century. The pavilions have forgot all about the terribilita, the overpowering drama,
columns, the walls between, pilasters. The third storey is of Michelangelo, their teacher and spiritual ancestor.
decorated with reliefs by Jean Goujon, who also col- The nobility and the rising aristocracy followed in the wake
laborated with Lescot at the Fontaine des Innocents (ills. of the Court. Azay-le-Rideau (ills. 73, 79, below) was built

XIII
mammmmm wmm

1518-1527 by a commoner, Gilles Berthelot. The needle- and Dutch traits. There is certainly nothing Italian about

sharp turrets, the pinnacled dormer windows, the slender the use of the picturesque as an aid to pure architecture.

shafts on the bay towards the courtyard, are clear evidence Amongst Anthony, who may
the artisans were a certain

of the coming triumph of Mannerism. There is rather too have been German, and one Alexander Colins, from the
much petty detail. But, for the first time, straight parallel Netherlands. The architect is unknown. Ottheinrich may
flights of steps replace the spiral staircase. The architect well have had a hand in the designs. He stood far above

was probably Etienne Rousseau. his ill-educated fellow princes, was the patron of several

Like Chambord, Rigny-Usse has a roofline dissolved into artists, and acquired a large art library, to which he added
a profusion of turrets and chimney stacks (ill. 77). two editions of Serlio's treatise on architecture while the
The Chateau at Chenonceaux (ill. 78), the country house new palace was building.
of a commoner, Thomas Bohier, Minister of Finance, is For the first time since the Middle Ages, Germany had an
built above the river Cher. The windows of the second architecture that was a mirror of Man as he stood on
storey have segmental gables - a feature as Italian as the Earth, rather than an expression of his striving to trans-
entablatures of the dormer windows. Horizontal lines still cend this world.The Ottheinrichsbau is thus a firm state-
dominate. ment of Humanism, of a philosophy that knew no fron-
Fontaine-Henry (ill. 79, above), mirrors all the conflicts tiers, and yet had its own form in every country.

of the time between the importation of the Italian Renais- After the death of Ottheinrich, the addition of two gabled
sance and the Mannerist resurrection of Gothic elements. pent-houses made the Castle look even more German. They
The projecting central portion above the entrance is
were burned in the fire of 1689, when the armies of
compact and horizontal. But the windows on the right have Louis XIV set aflame a large strip of the frontier region
Late Gothic ogee arches, and steep, typically French roofs to have a protective devastated zone between Germany and
with narrow dormers rise on the left. As at Chambord, the France. But the building appears more organic as it is now.
French love-of movement, of the picturesque, has triumphed As a ruin, it has certain romantic qualities, which, in the
over Italian discipline. Indeed, this happens everywhere, made it so dear to the hearts of many Ger-
last century-,
except in the Louvre and at Blois. The Italian Renaissance
mans. TheFriedrichsbau - also burned out - was "restored"
in its full significance was not properly understood until
by Karl Schafer after 1900. The Ottheinrichsbau, fortu-
the seventeenth century. nately, has been and is still in its original state.
left alone,
In Germany, Mannerism came much later, and with much Germany's biggest town palace, in Munich, was built by
less impact. Italian models were accepted more or less the Bavarian Court between the sixteenth and the nine-
unchanged, except for a wealth of small-scale ornamenta- teenth centuries, in place of the Neuveste, a fortified castle
tion. The tone is set, therefore, by the ornate buildings of created after the rising of 1384. Unlike later Baroque
Lombardy rather than by the severe Florentine palazzi. The palaces, the Munich Residenz is in the heart of the city.
castle at Heidelberg, and the Fiirstenhof atWismar (ills. 69, Under the Elector William, it was a loosely grouped series
72) are Italian in their well-balanced proportions. At Wis- of palazzi. From 1611 onwards these were linked and ar-
mar, the triple arcades with their caryatids and pilasters, ranged around six courtyards.
the triangular gables filled with medallions, and the relief
The earliest portion is the Antiquarium (ill. 155), commis-
along the cornice of each storey, areLombardic in character.
sioned by Albrecht V (1550-79) for his collection of Clas-
The casts for the terracotta medallions came from the
sical Antiquities - the first north of the Alps - and built
famous workshop of Statius von Diiren, in Liibeck. The
1559 by Ecke, to the designs of J. Strada, of Mantua. In its
lowest frieze, in limestone, shows the Humanist theme of
present form, it is the work of Friedrich Sustris, to whose
the Trojan War, and the Christian of the Prodigal Son.
designs it was between 1586 and 1600. The paint-
altered
Heidelberg castle lies on a mountain above the river Neckar.
ings on the ceiling are by another artist from the Nether-
In the course of the sixteenth century, it gradually changed
lands, Peter Candid. There are over a hundred views of
from a fortified castle into a palace of great splendour.
Bavarian castles and cities, allegoric scenes and a wealth
The Ottheinrichsbau (ill. 69) is illustrated opposite the
of strapwork and other decoration based on Italian
Louvre. Though both represent the Renaissance in its purest
engravings.
from in their respective countries, they have distinct na-
tional At Heidelberg, the upper storeys
characteristics.
The Grottenhof (ill. 154), also by Friedrich Sustris, fol-
decrease in height, there are broad sculptured friezes, sup-
lowed later. The painted ceilings are supported by Tuscan,
or composite, columns. The courtyard, according to old
ported by pilasters, Ionic and heavily rusticated on the
engravings, was at one time a formal garden. Antiquarium
ground floor, Corinthian, decorated and richly carved, on
and Grottenhof are the parts least damaged by the raid of
the floor above. The ground floor windows have triangular
pediments, the others are surmounted by Classic motifs of 1944, and could therefore be restored to something like
their original state.
Humanist connotation. The proportions are of a harmony
hitherto unknown in German Renaissance architecture. German Renaissance palaces, true to the German dislike

To supplement orders with a wealth of detail is typically for lavish, outward ostentation, appear at their most ela-

German, although some of the decoration shows French borate towards the arcaded courtyards. At the Plassenburg

XIV

*\
£3
(ill. Kulmbach, Franconia, a rather plain ground
65), in MICHELANGELO (ill. 83-85, 88-91). Though at heart

floor facade makes the two upper storeys, arcaded and a sculptor, Michelangelo could not find fulfilment in sculp-
covered in relief, appear all the more ornate. At Spittal an ture alone. His first great work of architecture was the
der Drau, at the former Royal stables - now the Mint - Medici Mausoleum (ills. 88, 89) at S. Lorenzo, opposite
in Munich, and on the Graz Landhaus, the entire wall Brunelleschi's Old Sacristy (built 1428). Michelangelo had
towards the courtyard is dissolved into arcades (ill. 110- been working on the designs for the Medici Mausoleum
112). Occasionally, (the Pellerhaus, Nuremberg, ill. 145), since 1520. He was both its architect and its sculptor. The
Italian arcading has been adapted to German patrician two seated figures are Giuliano (d. 1516) and Lorenzo
houses. At the Schallaburg, in Lower Austria, where it de'Medici (d. 1519), the statues on their sarcophagi Night
runs through two storeys, with caryatids on the upper, it and Day, Evening and Dawn. Sculpture of this kind had
has become completely German in character (ill. 151). already occured on Hellenistic tombs, just as mausoleums
AtFrederiksborg, the Danish royal palace, the international were nothing new in Christian churches. But the splendour
Renaissance has merged into the national character more of the Medici Mausoleum surpassed everything known
than anywhere else (ills. 134, 137). The courtyard is flanked before. It is an expression of the spirit of the Renaissance,
by two blocks with Northern gables, whose sides are of the will to perpetuate the fame of a ruling family. Only
formed by typically Mannerist strapwork. The towers - a a small portion of Michelangelo's plans was carried out.
theme much beloved by the architects of the North - are The square interior is vaulted by a dome, supported on
grouped asymmetrically and have helms of several storeys, pendentives. The articulation of the walls has all the
in the manner of Hanseatic church spires. Frederiksborg severity, the power and substance, the gravita, that distin-
was at one time the summer residence of the kings of guish the Roman High Renaissance from the light and
Denmark, who, until 1840, were also crowned there. It is playful manner of the Quattrocento. There is an air of
now the Museum of Danish History. tension, of unresolved conflict, about everything. The
The Alhambra (ill. 98), Granada, was built for Charles V windows seem hemmed in, the sculptures (ill. 89) lack the
between 1526 and 1568, by Pedro Machuca, who had been joie de vivre of the Renaissance. The time for the unreflect-

to Italy where he had met followers of Bramante. The ing enjoyment of this world is over. Life is an eternal con-
round courtyard is modelled on Hadrian's villa. It is placed flict, the struggle between longing and destiny. That is the

into a rectangle. Another, smaller, and also rectangular, message of the sculptures of the Medici Mausoleum, and,
courtyard leads into it. Its pure Renaissance forms, so indeed, of all Mannerist art.

unlike the prevailing Mannerist Mudejar style make the was commissioned in 1547. Michelangelo changed
St. Peter's

Alhambra the most "Classic" palace in Europe. Bramante's plan (p.X) by making a few very large rooms
The Escorial, Phillip IPs palace near Madrid (ill. 173, above, out of a wealth of small compartments, entirely in the
174), is modelled on the Spanish feudal castle. Like the spirit of the High Renaissance (plans and ills. 84, 85).
latter, it has a tower at each corner. The long, austere walls Bernini's bronze tabernacle of 1633 seems heavy and op-
also enclose a monastery and a church. Here, Phillip -
whose reign saw Spain's first great losses, the defection
of the Netherlands and the rout of the Armada - wanted
to live as a monk rather than as king, to personify the com-
plete union of state and Church. There are sixteen court-
yards 2673 windows, 88 fountains and 100 miles of cor-
ridors. The palace is as joyless and ascetic as the king.
There is not a trace of the Mannerist love of decoration.
But in its severe simplicity, the Escorial is already the
beginning of the Early Baroque, which was to introduce
movement and variety of an entirely new kind. The Es-
corial was designed by Juan Batista de Toledo in 1559.
After his death, in 1567, until 1584, Juan de Herrera was
in charge of the work.
The almost equally stern Castle at Aschaffenburg (ill. 172),
inGermany, was built 1605-1614 by Georg Ridinger, of
Strasbourg, for the Elector of Mainz. It forms a square, Michelangelo's plan Peter's, Rome A variation
for St. (1547). of
with four towers that recall fortified castles. Late Gothic Bramante's plan. All parts are subordinate to the centre.

and Mannerist asymmetry is completely overcome. The

only concession to Mannerism are the gables - one on and yet almost disappears under the huge dome.
pressive,
each side - with their obelisks. Aschaffenburg, self-suf- Columns have been replaced almost throughout by heavy
ficient and severe, is the last statement of the sixteenth piers. To the worshipper, lost in this vastness like a grain
century. The palace of the Baroque was to replace the of sand in the desert, the building seems a symbol of
closed courtyard with the open cour d'honneur. Infinity.

XV
Bramante had planned a semi-spherical dome. Michelangelo horizontals, the dome is not yet a centre of movement as
elongated it, and thus made it more dynamic, more Man- at St. Peter's. Calm and balance rule everywhere.
nerist (ill. 83). After his death, the dome was completed to Mannerism came with the Counter Reformation. After 1607,
Michelangelo's plans under Giacomo della Porta. St. Peter's was given Maderna's nave. II Gesu, the church
Mannerist dynamism, triumphant over Renaissance calm of the Jesuits in Rome became the proto-
(ills. 106, 107),
in the dome, also prevails in the plan. In 1607, it was decided type of most seventeenth century churches. It is the work
to elongate one of the arms of the church into a nave. It
was completed, to the designs of Carlo Maderna, before 1612.
Michelangelo's staircase in the Bibliotheca Laurenziana,
commissioned by Pope Clement VII and begun by Michel-
angelo in 1523, has always been considered the beginning
of Mannerist architecture (ill. 91). Again, the forms do not
spread freely, but are hemmed in, almost compressed. The
enormous coupled columns are placed into narrow recesses,
and these, in turn, are flanked by blind windows. The
consoles below are like clenched fists that cannot open.
At the Palazzo Farnese in Rome (ill. 90), begun in 1514
by Antonio daSanGallo, Michelangelo added the top storey
to the courtyard facade. Doric, Ionic and Corinthian Vignola's II Gesu, Rome (1568). A development of Alberti's concept:
columns combine in one building. Here, too, in architec- the dark nave is subordinate to the light-flooded crossing.

ture as in painting and sculpture, Michelangelo had been

a powerful new impetus. of Giacomo Vignola, was begun 1568, roofed 1576, and
consecrated 1384. By then, a design by Giacomo della Porta
RENAISSANCE AND MANNERIST CHURCHES had replaced Vignola's facade. The German Jesuits had
(ills. 14, 15, 61, 82-87, 96, 97, 100, 101, 106-109, 122 12 3/
/ gone back to the Gothic which, to them, was the only true
138, 139, 166, 177). The principal works of the High Renais- style for churches. At II Gesu, by combining a nave of three
sance, the Tempietto (ill. 82) and St. Peter's (ills. 83-85), bays with a dome, Vignola achieved a synthesis of balance
have been discussed under Bramante and Michelangelo. and orientation, of the earth-bound and the transcendental.
A third church built on a central plan is S. Maria della Leon Battista Alberti, in S. Andrea, Mantua (ills. 14, 15)
Consolazione, in Todi (ills. 86, 87). The Tempietto is small, had already anticipated a solution of this kind. As Michel-
St. Peter's later had a nave added. At S. Maria della angelo's concept of St. Peter's is to Bramante's, so is II

Gesu to the nave: a sum total of separate parts is trans-

formed The aisles, formerly almost
into a unified whole.
self-contained, have become side chapels, subordinate to
the nave. There is rhythm and unity throughout.
II Gesu points to the future. In the North, Mannerism was

essentially conservative, and throve on the continuation of

the Gothic. In France, its most important building was
S. Etienne-du-Mont, Paris (ills. 122, 123). The choir was

begun 1517, the nave 1540. The nave is only slightly higher
than the aisles, making the building not unlike a hall
church. The piers and rib vaulting continue the High Gothic
tradition, the walls are completelly transparent. The rood-
loft by Pierre Biard, is a mass of tracery, including the

typicallyMannerist spiral staircase. But the facade (1607),

holds few memories of the Gothic and has the curved
pediments characteristic of the French Renaissance.
In Germany, Renaissance church architecture begins with
5. Maria della Consolazione, Todi (c. 1520). A work of Bramante the Fugger chapel, in the Carmelite church of St. Anna,
pupils. Augsburg (ill. 61). The memorial chapel of a patrician
family, it can be compared with Michelangelo's Medici
Consolazione, the central plan survives in all its clarity. Mausoleum. J. V. Sandrart, the German Cellini, wrote about
The centre is a square, surmounted by a dome. There are the Fuggers in 1675 "The noble house of Fugger has
:

four apses. It is not a building that might be a narrow encouraged the arts, and sustained the artists". The chapel
passage into another world. The beholder will experience was commissioned in 1509 and consecrated nine years later.
it in most perfect form from the centre, standing still
its It lies at the western end of the nave, forming a kind of
and letting it work upon him. The walls are transversed by choir to the west. The dome, decorated with a network of

XVI
Gothic lierne ribs, is supported by Venetian Renaissance able space for the altar, no church building with specifically
pilasters. The relief panels, with the figures of Georg Protestant features - apart from galleries - evolved in the
(d. 1506) and UlrichFugger (d. 1510) are based on drawings sixteenth century. The unknown Buckeburg
architect of
by The altar, with a free-standing group of the
Diirer. church used Gothic rib-and-panel vaulting, supported by
Pieta, is the work of Hans Dancher, as are the predella Renaissance columns and typically Gothic buttresses.
panels. Peter Vischer's screen, ordered for the chapel, went There is Early Gothic tracery - by no means unusual in the
instead to the Nuremberg Rathaus. A contemporary Renaissance - on the round-headed windows, the walls
chronicler describes the chapel as "in the Italian manner, carry wooden galleries.

not seen before". Heavy war demage was repaired in 1948. On the facade, the sculptured buttresses, extended beyond
At St. Michael's, Munich (ills. 108, 109), the Renaissance the cornice by obelisks, are like an affirmation of Mannerist
in its fully established. The church
Mannerist version is verticalism, from which the heavy sculptured gable and
was built for the Jesuits - the vanguard of the counter- the round windows can detract very little - the less so,
Reformation - by Duke Wilhelm V. Its chief architect was because of their strangely elongated surrounds.
Wolfgang Miller. Whether he also designed it, on the basis Palladio's Venetian churches (ills. 100, 101) are discussed
of Italian plans supplied by the Jesuits, is uncertain. It was in the chapter on the master's work.
begun and completed in its first version six years
in 1582, Amongst Portuguese monastic buildings, the Convent
later. In 1590, the tower above the crossing collapsed. The Christi, atTomar, ranks next to Belem in importance. The
portions east of the nave were re-built after a model by city of Tomar was built under the protection of the Order
Friedrich Sustris, and consecrated 1597. The coffered bar- "de cavalleria de Nostro Senhor Jesus Cristo", the Knights
rel vault of the nave is supported by screen-like piers, of Christ, founded 1314 by King Diniz. In 1523, it was
which enclose side chapels and galleries. Sustris added a turned into a monastic order, the castle was considerably
transept; his plan for a dome did not materialise. Nave ar- enlarged, and the number of cloisters was increased from
cades, common in Bavarian Late Gothic churches, combine four to eight. 111. 160 shows one of these cloisters, built
with Italian forms. The most strikingly Italian feature is 1557-62.
the three-storeyed gabled facade, with recesses for sculp- The Late Renaissance culminates, and ends, with the church
ture and blind windows. Our illustration shows the figure of the Escorial, near Madrid (ill. 177). Vignola had evolved
of St. Michael, between the red marble portals, and statues an ideal plan, based on 22 designs submitted by Italian
of the Wittelsbach rulers - the principal allies of the artists to Phillip II. But the work went to Juan de Herrera,
Counter Reformation - above. The Jesuit College to the the second architect in charge of the entire palace. Herrera's
west of the church later became the Bavarian Academy of church, like St. Peter's, Rome, is based on a central plan,
Sciences. Like the church, it was very badly damaged in which, as at St. Peter's, is extended westwards by a vesti-
1944 and was later restored in simpler form, without - bule, with a monk's choir continued in the form of gal-
amongst other detail - the stucco decoration. leries along the entire building above. Off one of these
Comparsion between the castle church at Augustusburg, in galleries, communicating with a royal box, is the king's
Saxony, and the sacristy of Jaen Cathedral (ills. 96, 97) bedroom. Similar court churches followed at Barcelona,
gives some idea of the international character of the Versailles and Dresden. Charles V and Phillip II lie buried
Renaissance. Augustusburg was built by the Elector August in the crypt below the High Altar. Throughout the building,
as the first palace on an entirely geometric plan. The gal- the forms are of a severe grandeur, entirely in keeping
leries - a characteristic feature of Protestant churches - run with the monastic spirit of the place.
across three storeys. They are separated by internal but-
tresses, decorated with a Doric order on the ground floor PALLADIO (ills. 100-103). Classic art found its fulfilment
and Ionic orders on the floors above. The highly original both in the masters of Mannerism and in Palladio's own
pattern on the ceiling appears to be derived from metal- specific version of the Late Renaissance. By emphasizing
work designs. basic laws of form, following objective rather than personal
The sacristy at Jaen has similar segmental arches, and the values - in contrast to Michelangelo and the Baroque -
same type of ceiling. There are cupboards for vestments he has approached the spirit of Antiquity more than any
between the columns on the left. other architect. Certainly, the increased splendour, the
In contrast to these Renaissance buildings, national charac- heightened contrasts of form, the rich play of light and
teristics again predominate in the parish churches of shade, are his own individual contribution. Yet his work
Buckeburg (ills. 138, 139) and Wolfenbiittel, the only is the triumph of the Renaissance, pure and undiluted,
German Protestant church buildings of the sixteenth even in Northern Italy. He put function before decoration,
century. The aim is a synthesis of Gothic and Renaissance. anatomy before dress.
The naves are a Gothic version of Northern hall churches - Palladio was born in 1508, in Vicenza, and died, in Venice
the Gothic was simply considered the church style per se, in 1580. He has made his native city famous by his Basilica,
the Renaissance was rejected as "pagan". Just as Lutherans the Teatro Olimpico and his palaces. In the tradition of his
only very gradually developed their own form of worship time, he adopted a Humanist name, derived from Pallas,
and, in contrast to Calvin's followers, still allowed consider- the Goddess of Art. He studied Vitruvius De Architecture

XVII
more thoroughly than any of his contemporaries, made an insoluble conflict between form and purpose in the Villa
detailed records of the Classic architecture of Rome, Dal- Rotonda.
matia, and Provence, published I quattro libri dell' Architet- We know little about Paolo Almerico, who had the Villa

tura - The Four Books of Architecture - about his studies, Rotonda built in the second half of the sixteenth century,
and, in 1554, brought out another work, L'Antichita di but he must have understood Palladio's concept of Man.
Roma. Extremely versatile, he also built bridges, designed The Universal Man of the Renaissance, the uomo univer-
theatre settings, restored the Roman theatre at Vicenza, sale, is the real theme of this house. He is the culmination
and created a new theatre in the hall of the Basilica. His of Europe's second Classic age, the Renaissance, if we can
principal works are palaces, churches and villas. His new see Greek Antiquity as the first. The third is the time round
facade for Vicenza town hall, the "Basilica" was begun eighteen-hundred, the age of Goethe, who compared Pal-

1549 (ill. 103, above). At the Palazzo Chieregati (ill. 103, ladio with Homer. Seen in this light, the Villa Rotonda is

below), also in Vicenza, clever use has been made of light the purest expression of the Renaissance, next to Bra-
and shade. The Baroque was to aim at similar effects. But mante's Tempietto (ill. 82).

there is as yet no movement, everything is static rather Because he re-created Classic architecture at its purest,
than dynamic. The Palazzo Chieregati was built 1566. Palladio has come to be considered the father of the Classic
At S. Giorgio Maggiore (ill. 101), one of his two Venetian Revival. He has had more influence than any other archi-
churches, a parapet forms a clear demarcation between tect in history. Elias Holl began as an imitator of Palladio,
dome and crossing, a projecting cornice between piers and Perrault created the facade of the Louvre in the same spirit.

arches. In Baroque architecture, these separate zones Frederick the Great of Prussia followed in the wake of

usually merge. France; in England, some of the finest seventeenth-and

At II Redentore (ill. 100), Palladio's other church in Venice, eighteenth-century architectureis simply described as Pal-

the Classic tradition is not merely followed, but continued. ladian. AllEurope took up Palladio, when the force of the
The motif of the pillared and gabled temple front is used Italian and South German Baroque had exhausted itself,

twice. It is repeated in the two pilasters at the entrance, and calm and simplicity came into their own again. He was
and again in four pilasters at the sides, as if inviting the the great teacher of Classic Art until the middle of the
eye to see it continued behind the main gable. Such effects eighteenth century, until Winckelmann and the dawn of
already border on the Baroque, as does the colossal archaeology.
Corinthian order.
102 shows Palladio's most famous villa, the Rotonda, at
111. RENAISSANCE AND MANNERIST ORNA-
Vicenza. It is a perfect square, vaulted with a dome, and MENT (ills. 17, 22, 28, 66, 71, 74/75, 77, 90, 09, 114, 122,
with a Greek temple front on each side. It is thus built 126-130, 133, 135, 140-142, 146, 148-150, 152, 153, 157,
on the plan of a Greek Cross, a form hitherto reserved for 159, 165, 171, 178/179). In the Gothic, the secrets of pro-
portion and statics, of the art and craft of building, were
passed by the spoken word from master to journeyman and
apprentice. In the Renaissance, such information is passed
on in books and engravings. The artist, in using books,

now resembles the learned Humanist. While the Gothic

still had its roots in the people, the Renaissance is based
on a learned elite, the literati. A contrast develops between
them and the mass, the illiterati. In the High Gothic, artists
had gone to France, and the Gothic had become international.
In the Renaissance, Italian patterns were exported every-
where, until France and Germany produced their own de-
signers, who gave a national interpretation to foreign
motifs.
Pattern books were of two kinds. The first taught the art
of architecture, that is, Greek orders,
the use of the three
Doric, Ionian and Corinthian, and the two added by the
Palladio's Villa Rotonda, Vicenza (second half 16th century). All
practical considerations are sacrificed to the formal plan. Romans, the Tuscan and the Composite (ill. 17, drawing
on p. XIX). Already Vitruvius endowed the Doric order with
churches. There something inappropriate about the build-
is male, the Ionic with female characteristics. Doric, Ionic and
ing's likeness to a temple. Though the villa seems to belong Corinthian columns or pilasters are therefore often used
to a god, it is, after all, only a country house. It also marks on the same facade, one order on each storey (ills. 22,
the decline of the pillar, which in the past had been first 90, 99). All five orders occur at Oxford, on the so-called
sacred, and then reserved for sacred buildings. Soon, it Tower of the Five Orders, at the Bodleian Library (ill. 165).
was to appear everywhere, until the nineteenth century Ready-made designs were also available for cornices and
used it on railway stations and banks. To us there seems whole entablatures. The frieze above the arcades on the

XVIII

i.C
town hall of La Rochelle (ill. 142) is Doric, above the above the entrance front, on the palace at Tubingen (ill. 135),
windows Corinthian. is framed by a circle, whose outline develops into a riot

All Renaissance books on architecture are based on De of strapwork. Strapwork, the most characteristic ornament
Architectura, written 23 B.C. by Vitruvius. The first printed of Mannerism, has no longer any connection with natural
edition in Latin was published in Strasbourg 1543, the first forms. Dentils, originally part of the cornice were much
in German five years later, also in Strasbourg, by the beloved by Mannerist architects, so much so that the facade
at the Palazzo dei Diamanti, at Ferrare (ill. 150), is com-

pletely covered by them. At the town hall at Hannoversch-

quAMLAJnu sgay
Miinden (ill. 140), where the cartouche round the coat-of-
arms engulfs the entire doorway, the dentils along the
===== curve of the arch are like faceted precious stones.
At Biickeburg (ill. 159), the cartouche on the door radiates
rather than encloses. Itsmovement is taken up and passed
on by the figures of Mars and Venus. The eye can hardly
distinguish anything amidst the confusion of ornament
and sculpture. The mass of small detail, the mysterious
play of light and shade, are typically German. Most of the
forms are based on engraved designs by Wendel Dietterlin.
The altar, at the castle chapel, Biickeburg (ill. 157), shows
similar tendencies. Here, tasselled draperies have been
carved in wood above the niches. The work was commis-
sioned by the art-loving Count Ernst von Schaumburg-Lippe,
and was obviously carried out by some of the leading
woodcarvers of the day. Their names, unfortunately, have
not been recorded.
The changing forms of the capital: a) Doric, from the Theseion; In Germany and Flanders, strapwork was often used on
from the Propylaea;
b) Ionic, c) Corinthian acanthus capital; d) Roman gables. At the Leibnizhaus, in Hanover (ill. 149), it fills in
composite capital.
right angles; in the Essighaus at Bremen (ill. 148), only
the columns on the facade can contain it.
Humanist Walter Rivios, under the title Vitruvius Teutsch. The town halls and palaces are amongst the
interiors of
One of the greatest theoreticianswas Sebastiano Serlio most elaborate examples of sixteenth-century architecture.
(1475-1552), whose book on architecture had a profound Here, too, Fontainebleau (ills. 130, 131) led. The ceiling in
influence in France and Germany, where Hans Blum, basing ill. 128 displays the fleur-de-lys of the Bourbons, surround-
himself on Serlio, brought out another book on orders, first ing a rosette, framed by a profusion of Classic motifs.
in Latin, in 1550, then, five years later, in German. At Heiligenberg Castle (ill. 129), the ceiling of the Knights'
The other type of pattern book at first supplied designs Hall is divided into a number of fields, separated by metal
for jewellery. Later works are concerned with 'Classic' mounts and covered with grotesques, cartouches and plant
detail of every kind, particularly vases, putti and the forms.
acanthus leaf inmany forms. All these motifs are found The ceiling of the castle at Jever, in Oldenburg (ill. 133),
throughout Antiquity and the Renaissance, particularly on is compendium of sixteenth century ornament. The
lake a
pilasters (ills. 28, 66, 127). two main portions, framed by the favourite egg-and-dart
The first Mannerist ornament was Moorish. The Arabs had motif, display cartouches, with figures radiating towards
been the first to use plant motifs, albeit in a formalised the corners. Germanic plaitwork, originally used to ward
version of their own, since Greek Antiquity. Mannerism, off evil, here serves as mere decoration. Ills. 141, 152, 153,
not bound by Nature, took up these forms. They predo- 159 show what splendour the homes of guilds and patrician
minate in the marquetry ornament of one of the rooms at families could attain, never more so, perhaps, than in the
Schloss Gottorp, in Schleswig (ill. 153). Goldene Saal - the Golden Hall - at the Augsburg Rathaus
Mannerism craved for decoration of every kind. Chimney (ills. 178/179). The room extends through three storeys and

stacks were wreathed in spirals, or capped (ills. 74/75, 77)- has two large and four smaller doors. There is a wealth of
The and Babylon a monument, is now
obelisk, in Egypt allegoric figures, of paintings and cartouches. The panelling
used like a Gothic finial (ill. 114), often on gables (ills. 122, has been covered with gilt and coloured stucco work. This
140, 146, 148), to emphasise upward movement. One of the splendid hall was meant to compete with the Doge's Palace
most important forms is the cartouche. The Italian School in Venice, to which Augsburg was closely linked by trade.
of Fontainebleau first used strapwork frames (ill. 126), as But all these Mannerist forms, cartouche, grotesque and
Mannerist as the supporting figures, usually S-shaped, with strapwork - the products of phantasy rather than copies
elongated bodies and small heads, or Goujon's nymphs of nature - had eventually to give way to the naturalism of
(ill. 71). The coat-of-arms of the Dukes of Wiirttemberg, the Baroque.

XIX
THE ENGLISH COUNTRY HOUSE (ills. 120, 121, completed in 1601. The Mannerist tradition is evident in
162-164, 166, above, 167, 169, 175). In England, the most the tall three-quarter columns, which rise above the
important type of building, the most formative element in parapet, where they support heraldic figures.
the architecture of the sixteenth century, was manor
the Audley End, Essex (ills. 162, 169, above) was built 1603 to
house. Tudor architecture is a national variant of Man- 1616. Its three wings are grouped symmetrically around
nerism. One of its earliest examples is Hengrave Hall, in two courtyards. The chimneys, lined up behind a parapet,
Suffolk (ills. 120, 121). It was built to the design of John and the turrets, are the only reminders of Mannerism.
Sparke before 1530, and replaces an earlier moated house, Hatfield House, in Hertfordshire (ill. 164), begun 1608, is
which had been sold in 1521 by the Duke of Buckingham also built on an E-shaped plan. The pilasters, balanced on
to the newly ennobled cloth merchant Thomas Kytson. The tall plinths, the balustrade and the turrets are typically

hall faces the enclosed courtyard. The two pillars, without Mannerist.
any function, the elaborate oriel window its wealth of putti Kirby Hall, Northamptonshire (ill. 166, above), built by
around the coat-of-arms against the otherwise plain wall, Thomas Thorpe 1570-75, combines Mannerist chimneys with
the Gothic finials, the abundance of chimney stacks far a Palladian colossal order. At Cobham Kent (ill. 167),
Hall,
beyond actual need, and the crocketed domes on the turrets the horizontal line of the roof, no longer visible from below,
are all characteristic of Mannerism. Nor is the use of two is dramatically broken by the porch, in which all the orna-
different materials - rubble and stone-coloured brick - in ment of the otherwise plain facade is concentrated. Cobham
the Classic tradition. Hardwick Hall (ill. 169, below), built Hall already has many Italian features, and Inigo Jones, in

c. 1590, is a rectangular block with projecting bays. One of 1620, could place it into the centre of his new Palladian
itsmost striking features is the large number of tall, mul- scheme without any The Queen's House, Green-
transition.

lioned windows. wich, almost his first building, was begun two years earlier
Montacute House (163, below), perhaps the most outstand- (ill. 175). Mannerism had come to an end. The future be-

ing building in this series of Elizabethan houses, was longed to the followers of Palladio.

XX

>*.
 INDEX OF NAMES AND PLACES
Roman numerals refer to the text, Arabic numerals to illustrations.

ALBERT VOX SOE5T 141 BCCKEBURG, Stadtkirche XVII, 138, 139

ALBERT I, Leon Battista Mil, IX, XVI, BURGHLEY HOUSE 119
14, 15, 17, 22, 23
BURGOS, Cathedral,
AMBOISE-SUR-LOIRE, Chateau XII, 76 the crossing, from below XI, 81
AMBRAS, Castle, the Spanish Room XIX, (above) 152 CAXTERBURY, Christ Church, Gatewa;y 45
A NET, CHATEAU, main gate 124 CAPUA, head of Jupiter vn, 2
chapel 125
CASTEL DEL MOXTE, portal VII, 5
ANGERS, Maison d'Adam 49
CASTAGXO, Andrea del ML 1
ANTWERP, TorahaU XII, 117
CASTILHO , Joao de 54, 55
-, guild houses XI, 45
C E R T O S A D I P A V I A Carthusian church
ch
, facade
fa cade 51
AREZZO, Santa Maria delle Grazie, the narthex 17
CHAMBORD-SUR-LOIRE, Chateau XIII, XLX, 74 7 ^
ARRUDA, Francisco de 59
ASCHAFFEXBURG, Castle XV, 172
CHEMXITZ, Castle church, north portal 52

AUDLEY EXD XX, 162, (above) 169

CHEXOXCEAUX, Chateau xrv, 78

AUGSBURG, Fugger Chapel XI, XVI, 61 COB HAM HALL XX, 167

-, town hall XII, XIX COLOGXE, town hall XII, 161

_
Golden Hall 178 i o COVEXTRY , Ford's Hospital 48
facade (rear) 180 CREMA, Santa Maria della Croce (above) 27
AUGUSTUSBURG, Castle church, interior XVII. 96 DAXZIG, Marienkirche, ceiling X, 3S
AZAY-LE-RIDEAU, Chateau XIII -, Rathaus, council chamber 158
courtyard 75 DELORME, Philibert 124, 130, 164, 167
river front (below) 79
DOXATELLO MI, 10, 13, 18
BAMBERG, Cathedral, Carving, from a choir-stall 7-
EBERT, the Younger T-57
BASLE, Spiesshof, facade "3
ECKE xrv, 155
B ATT AG IO, Giovanni (above) 27
ECKL, Wilhelm no
BELEM, Monastery- XI
nave
ESCORIAL XV, XMI
54
bird's eye view (above) 173
cloisters 55
monastery church 177
watch tower (Tagus estuary) 59
south front 174
BIARD, Pierre XM, 123
ESSL X G E X town hall, vestibule
I , 62
BLOIS-SUR-LOIRE, Chateau XIII
staircase 67
FERRARA, Palazzo dei Diamanti XLX, 150

fireplace FLORENCE, Baptistery MI, 4

BOITACA. D. 54
-, Biblioteca Laurenziana, interior XM, 01

BOURG-EX-BRESSE, Choir screen 56 -, Cathedral, the dome MI, 5

BRADFORD-OX-AVOX, The Hall -, Foundling Hospital (Ospedale dei Innocenti) ML 6

(Kingston House) (above) 163 -, Museo Xazionale, Donatello's S. George 18

BRAMAXTE, Donato IX, 27, 28, 82, 84, 85 -, Museo di S. Apollonia, Pippo Spano (fresco) MI, i
BREMEX, Essighaus XII, XIX, 14S -, Palazzo Pitti Mil, IX, -3
-, The Schiitting 168 -, Palazzo Medici-Riccardi IX, 24
BRUGES, "Ancienne Greffe" "5 -, Palazzo Rucellai MIL IX, XVIII, 22

BRUXELLESCHI, Filippo VII, MIL 5, 6, 7, 9 -, Palazzo Strozzi LX, -5

BUCKEBURG, Castle XLX -, Pazzi Chapel, interior MIL 9
chapel, interior 157 -, Santa Croce
Golden Room, detail 159 Annunciation 10

XXI
 m

FLORENCE, San Lorenzo KULMBACH, Plassenburg, "Schoner Hof" XV, 65

interior VII, VIII, 7 LALIO, Domenico de 112
new sacristy XV, 88, 89
LE MGO Lippe, Hexenbiirgermeisterhaus
/ 147
-, SanMiniato, the tomb of Cardinal Jaco podi Portugal 12
-, Uffizi, courtyard 104
LESCOT, Pierre XIII, 68, 70

FLORIS, Cornelis XII, 117

LIEGE, Episcopal Palace, courtyard 143
LIPPI, Annibale
FONDUTI DA PADOVA, Agostino dei 28 95

FONTAINEBLEAU, Chateau XIII, XIX

LISBON, Sao Vicente da Fora 176

Gallery of Francis I (above) 130 LITTLE MORETON HALL 51

Hall of Henry II (below) 130 LOMBARDO, Pietro 94

courtyard 131 LONDON, Middle Temple Hall, screen (below) 166
panelled ceiling 128
-, Westminster Abbey, Henry VII's Chapel X, 41, 42
interior, detail 126
LOBECK, Annen Museum, St. John the Apostle 1Q
FONTAINE-HENRY, Chateau XIV, (above) 79
FRANKFURT, "Steinernes Haus" 21
LUCIANO, called de Laurana 16

FREDERIKSBORG, Castle XV
LUNEBURG, town house (detail) 64
T^

facade
-, town hall, council chamber (detail) XIX, 141
137
main entrance 134 LYMINGE, Robert 164
GERHARD VON LEYDEN, Nikol aus 37 MACHUCA, Pedro XV, 98
GHENT, Guild houses XI, 44 MAIANO, Benedetto da IX, 11 : 25

GLASTONBURY, The George Inn 118 MANTUA, S. Andrea VIII, XVI, 14 - 15

GOUDA, town hall XII, XIX, 114 MICHELANGELO BUONAROTTI IX, XV,
GOUJON,Jean XIII, 71 83-85, 88-91

GRANADA, Alhambra, courtyard XV, 98 MICHELOZZO DI BARTOLOMMEO 13, 24

GRAZ, Landhaus, cortile XV, 112 MILAN, Santa Maria delle Grazie IX, (below) 27
the apse 29
GREENWICH, The Queen's House XX, 175
-, Santa Maria presso Satiro, sacristy X, XIX, 28
GUAS, Juan 53
HAARLEM, Butchers' Guild Hall 171
MILLER, Wolfgang XVII, 108, 109

HAMLIN-ON-THE-WESER, MONTACUTE HOUSE XX, (below) 163

The Pied Piper's House 170 MONTEPULCIANO, town hall IX, 20

HANNOVERSCH-MUNDEN, town hall XIX, 140 MUNICH, The Residence XIV

HANOVER, Leibnizhaus XII, XIX, 149 Antiquarium 155
Grottenhof 154
HARDWICK HALL XX, (below) 169
-, The Mint (courtyard) XV, HO
HATFIELD HOUSE XX, 164
-, St. Michael's XVII, 108, 109
HEIDELBERG, Castle, Ottheinrichsbau 69
MONSTERMANN, Ludwig I56
HEILBRONN, St. Kilian's XI, 60
HEILIGENBERG, Castle, The Knights 129
NEEDHAM MARKET, Parish Chu 50
NEISSE, Weighing Office XIX, I46
HENGRAVE HALL XX, 120, 121
NUREMBERG, Pellerhaus XV
HERRERA, Juan de XV, XVII, 173
courtyard 145
HILDESHEIM, The Butchers' Guild House 46 fireplace 144
HOLL, Elias XII, 178-180 OSNABRUCK, Willmann House XI, 47
HOLT, Thomas 165 OXFORD, Bodleian Library,
J A EN, Cathedral, sacristy XVII, 97 Tower of the Five Orders XVIII, 165

J EVER, Castle, detail from the ceiling XIX, 133 -, Christ Church, staircase X, 39
JOHNSON, Bernard 162 PALLADIO, Andrea XVII, 100-103

JONES, Inigo XX, 175 PALMANOVA, from the air 80

KALMAR, Castle (below) 173 PARIS, Fontaine des Innocents XIII, XIX, 70, 71

KEY, Lieven de 116, 171 -, Louvre XIII, 68

KIRBY HALL XX, (above) 166 -, Saint Denis, tomb of Louis XII XIX, 127

KREBS, Konrad 66 -, Saint-Etienne-du-Mont XVI, XIX, 122, 123

xxn

<«•;
PAVIA , Cathedral, plan IX SUSTRIS, Friedrich XIV, XVII, 108, 109, 154
PERUZZI, Baldassare 99 SYRLIN, Jorg, the Elder VII, 36
PILGRIM, Anton 34 TERZI, Filippo 176
PONZANI, Antonio 154, 155 THORPE, Thomas XX, (above) 166
PORTA, Giacomo della XVI, 106 TOD I, Santa Maria della Consolazione XVI, 86, 87
PRAGUE, Castle, interior 35 TOMAR, Convent Christi
PRATO, Cathedral, outside pulpit 13 facade (detail) XL 58
cloisters (Claustro de Joao III) XII, XVII, 160
-, Santa Maria delle Carceri, facade 8

PRIMATICCIO, Francesco XIII, 130

TORGAU, Hartenfels Castle XII, XIX, 66

RAPHAEL (Raffaelo Santi) 92-93

TUBINGEN, Castle, portal XIX, 135

REGENSBURG, "Schone Maria" XI ULM, Cathedral, portrait bust VII, 36

RIDINGER, Georg XV, 172 U R B N O Castle, terrace

I , 16

RIETH, Benedikt (Benesch von Laun) 35

VALDELVIRA, Pedro de 97

RIGNY-USSE-SUR-LOIRE, Chateau XIV, XIX, 77

VALLADOLID, San Gregorio, facade 53
Collegio de San Gregorio, courtyard 57
RIMINI, San Francesco (Tempio Malatestiano),
detail XVIII, 17
VAREL, Oldenburg, Parish Church, High Altar
(detail) 156
LAROCHELLE, town hall, courtyard XIX, 142
VASARI, Giorgio 104
ROME, Gesu II XVI, 106, 107
VELTHURNS, Castle,
-, Palazzo Farnese IX, XVI, XVIII, 90
the Princes' Chamber XIX, (below) 152
-, Palazzo Massimo alle Colonne IX, XVIII, 99 VENICE, Library of St. Mark's 105
-, San Pietro in Montorio, Tempietto X, XVI, 82
-, Ca d'Oro 40
- St. Peter's X, XV, XVI, 83-85
-, II Redentore XVIII, 100
-, Vatican, Stanza della Segnature, fresco 92-93
-, Palazzo Contarini 26
-, Villa Medici, facade 95 -, Palazzo Vendramin-Calergi 94
ROSSELINO, Antonio 12
-, San Giorgio Maggiore XVIII, 101
ROSSI, Rosso XIII, 126, 130
-, Scuola di San Rocco, facade 30
ROTHENBURG-on-the-Tauber, town hall XII, 136
VERNUIKEN, Wilhelm XII, 161
S.THEGONNEC, Parish Church 63
VI ART, Charles 67
SAN GALLO, Antonio da IX, XVI, 90
VICENZA, Villa Rotonda XVIII, 102
SANSOVINO, Jacopo 103
-, Palazzo Chieregati XVIII, (below) 103
SCAMOZZI, Vincenzo 80
-, Palazzo della Ragione (Basilica) XVIII, (above) 103
SCARMAZZI, V. 111
VIENNA, St. Stephen's, organ base 34
SCHALLABURG, caryatids XV, 151
VIGNOLA, Giacomo XVI, 107
SCHICKHARDT, Heinrich 62
SCHLESWIG, Gottorp Castle, interior XIX, 153
VISCHER, Caspar 65

SCHWEINER VON WEINSBERG, Hans XI, 60

VI VI AN I, Antonio Maria 155

SIMON VON KOLN 57

WHITT, Giles de 167

SPARKE, John XX, 121 WISMAR, Furstenhof XIV, 72

SPITTAL, Carinthia, Porcia Castle, cortile XV, 111 WITTEN, Hans 52

STARGARD, town hall, facade 33

WOLF, Hans 138, 157

STRASBOURG, Frauenhaus Museum, WOLF, Jonas 157

Nikolaus Gerhard von Leyden, self-portrait (?) 37 WOLFF, Jakob, the Elder XII, 145

XXIII
The new worldly Renaissance type is shown in this portrait. Pippo Spano, a Florentine condottiere.
Fresco (c. 1450) by Andrea del Castagno. Florence, S. Apollonia Museum.
 -

v V 'I

n
1
y

1
it'

1
I H

1
>
*!

IAk
I

\ 1 hJVg n H I . I'PP VS H K PA MVS DE S ( IIS KELA- 4EV(.R.0i

—i*•
 Aufsbe'9

Kerff

Renaissance:
Capua. Der Jupiterkopf stammt von dem heute zerstbrten Triumphtor, Castel del Monte, Apulien. Lange Zeit vor Beginn der eigentlichen
Wiederaufnahme antiker Formen fiir Bauten des Kaisers.
das der Hohenstaufenkaiser Friedrich II.
Regelmafsig angelegt wie ein romisches Kastell, zeigt die Burg Friedrichs
II.
1233—47 nach romischem Vorbild
am Portal Pilaster und Gesimse. (Um 1240.)
iiber der Via Appia errichten lieB.
Renaissance
Capua. The Roman-style head of Jupiter comes from the triumphal gate Castel del Monte, Apulia. Long before the beginning of the real
of Frederick II.
classical forms came into use once more for the buildings
(now destroyed), erected 1233—47
by the Hohenstaufen emperor Frederick II
The castle (c. 1240) with its pilasters and entablature on the portal
has the regular symmetrical design of a Roman fort.
across the Appian Way.
•*•»•

.e lei
 Alinori

'lorenz. Das Baptisterium, aus der klassischen

romanischen Zeit (um x«o)
st ,n semen der Spatantike noch nahe verwandten Tlorenz. Die Domkuppel, von Brunelleschi 1410-36 in gotischer
Former, gleichzeitig
;in Zeugnis der toskanischen Vor-Renaissance. Rippenkonstruktion errichtet, zeigt
Renaissancegesinnung
in ihrer harmonisch ruhenden Majestat.
norence. The Baptistery (c. «5o), of the classic Romanesque period
_s at the same
time, with its almost classical forms, an example Florence. The cathedral cupola
of the (1419-36),
uscan Proto-Renaissance. constructed with Gothic ribbing by Brunelleschi,
shows
Renaissance feeling.
 Mil^B

Renger -Patzsch

Das Findelhaus (Brunelleschi. 1419-45) gilt als das ersle Bauwerk reiner Friihrcnaissance

Antikische Loggia, breitgelagertcs Gesims, rediteckige Fenster mit Dreiecksgiebeln.

Florence. The Foundling Hospital (Brungllesdu, 1419-45) is consider* to be the first pure Early Renaissance structure.

Classical-style loggia, wide entablature, rectangular windows with triangular gables.

Stursberg
von Brunelleschi errichtet. der mit den korinthischen
Arkaden
Floren- Blick durch die Basilika S. Lorenzo, nach 1420
Vor-Renaissance zuruckgnff.
und der flachen Kassettendecke
- unter Absage an die Gotik - auf die romamsche

Florence View of the basilica of S.Lorenzo (built post 1420,

by Brunelleschi).
from the Gothic and a return to the Romanesque Proto-Renaissance.
panelled ceiling shows a departure
With its Corinthian arcades a nd flat it
 ^m A

FotO
Marburg

Folo Marburg

Prato, Toskana. Front der Kirchc S. Maria delle Carceri (1485), Fhrenz. Diefa/zi-Kapelle (Brunelleschi, 1420). ein Hauptwerk der Friihrenaissance.
eines Zentralbaus auf griechischem Kreuz. Harmonie und Leichtigkeit nimmt mit ihrer Kuppel iiber rediteckigem Grundrifi
des Aufbaus, dazu schmuckarme Flachigkeit als Kennzeichen toskanischer Friihrenaissance. den Zentralbau der Hochrenaissance vorweg.

Prato, Tuscany. Facade of the central church of S. Maria delle Carceri (1485) Florence. The Pazzi Chapel (Brunelleschi, 1420),
built on the plan of a Greek cross. Note the harmony and airiness a major work of the Early Renaissance,
of structure and relatively plain surface*— features of the already anticipates the central plan of the
Tuscan Early Renaissance. High Renaissance with its dome over a rectangular ground-plan.

8
 '

^V

) 1
^Bh
k^agoaAVH

L vj i J J
*w IB ^feW^r r

'
.^fr flV ^1

f#} [iJ
Rl RnH » flit Aw \

La. Mf BWr ^tr

/'aw-
^
1

i 1

EgVA ^^RShjfl

H^fcwMi
.

OkXfmm*
1 ^^ H
' m
1 I
1 Hi

III
1 III
I : 1 1

HBVBVH
 '2> I

Foto Marburg

Jei'er
Florenz. Die Verkundung an Maria in S. Croce (Donalello, urn 143s). Arezzo, Toskana. Die Vorhalle von Santa Maria delle Grazie
In dem Tabernakel prunkt der Bildhnuer I (Benedetto da Maiano). Die Saulen mit den aufgesetzten Kampfern
mit der von ihm in Rom entdeckten antiken Ornamentik: und das zart ornamentierte Gesims haben noch zu Ende des 15. Jh.
Eierstaben, Rosetten und Blattwellen.
die Grazie der Friihrenaissance.
Florence. The Annunciation in S. Croce (Donatello, c. 143s). Arezzo, Tuscany. The narthex of Santa Maria delle Grazie
The lavish tabernacle sculptures
(Benedetto da Maiano). As late as the end of the 15th century the columns,
were inspired by classical Roman motif'. crowned with abutments and the delicate ornamentation of the entablature,
such as egg mouldings, rosettes and acanthus scrolls. have preserved the grace of the Early Renaissance.
10
 Jfc* 41 a ;m

N
.

,11

K* »»!<
V
/^ >*1
$»

I
 .e"*e-

Fc: '' - r _ z

Florenz. San Miniato, Wandgrab des Kardinals Jacopo von Portugal

Zwei Hauptwerke der Architekturplastik im Zeitalter der Friihrenaissance. Links:
(Antonio Rossellino, 1466). Oben: Prato. Dom, AuGenkanzel mit Puttenreigen,
bestimmt fur die Zurschaustellung einer Manen-Reliqine.
(1434—38, von Donatello gemeinsam mit Michelozzo.)

of Portugal
Two major works of sculpture in the Early Renaissance period. Left: Florence. San Miniato. Mural tomb of Cardinal Jacopo
(Antonio Rossellino, 1466). Above: Prato. Cathedral. Outer pulpit decorated with symbolic child-figures.
(1434-38; Donatello in collaboration with Michelozzo.)
13
 Folo Marburg

Mantua. Die Kirche S.Andrea. 1472 von Alberti begonnen. nimml Hochrenaissance und Barock vorweg.
Sie bringt nach romischen Vorbildern die Verbindung eines einschiffigen, tonneniiberwolbten Langhauses mit einem Kuppelraum (oben).
Die Facade frechts) mit ihren durchgehenden Pilastern ist wie ein romischer Triumphbogen gebildet.

Mantua. S. Andrea, begun in 1472 by Alberti, an inspirationation to t

! h Ren aissance and Baroque.
Taking his model from Rome, the arcrmect combined a s ingle-aisledT rib-vaulte d nave with a dome (above).
The facade (right) pierced by pilasters is in the form of a Roman triumphal arch.
14
 f>

I
Folo
Marburg

15
 i
:t

«
 -1—4-

vmm

|*K

**

.<**• L—

<i „.'

Gabinetto Fotografico Nazionali

Urbmo, MMeUtalien. Kanellierte, d. h. geriefte Pilaster

der Terrasse
am Herzog.ichen Schlofi, das Luciano (gen. Rimini, Mittelitalien. Antike Motive,
de Laurana) um I4 7° baute souveran kombiniert.
Der Machtigkeit der Pilaster wegen Halbsaule und umkranzte Rundfenster an
hat man den Kiinstler als der Kirche S. Francesco,
„Vater der Hochrenaissance" bezeichnet. die Sigismondo Malatesta nach
1445 durch L. B. Albert!
in den „Tempio Malatestiano"
Urbino, central Italy. Fluted verwandeln lie8.
pilasters
on the terrace of the ducal palace Rimini, central Italy.A supreme combination of classical motifs
built by Luciano (alias de Half-columns and garlanded circular windows
Laurana) c. 1470. at the church of S. Francesco
17 transformed post 14 45 by L. B. Alberti
into the "Tempio Malatestiano"
w^m
* ->\ ~J>J
 Castelli

Alinari
Liibeck. Annen-Museum. Der Evangelist Johannes
(urn 1510)
Tlorenz. Museo Nazionale. Marienkirche zeigt die zu edler Harmonie beruhigte Klassik,
aus der
Der Georg des Donatello, urn 1420. erwachsen ist.
die audi im Norden, unabhangig von Italien,
hi.

Der scharf beobachtende, nicht mehr Heiliges traumende Blidc

Annen-Museum. The noble harmony of the classical line which
spiegelt den Renaissance-Menschen. Lubeck.
in this sculpture
developed in the north independent of Italy is revealed
Florence. Museo Nazionale. Marienkirche.
of St. John the Evangelist (c. 1510) from the
Donatello's St. George (c. 1420).

19
 II

Montepulciano. Mittelitalien. Das Rathaus (vor 1400). ein schlichter Block, abgeschlossen mit Wehrgang. Zinnenkranz und Turm,
zeigt die Urform des Palazzo der Renaissance.

Montepulciano, central Italy. The ffcwn hall (pre 1400). a plain, compact block with battlements and tower, has in its form already the elements of the
20
Renaissance Palazzo.
 i

« -•

Ehem. Stoat!. Bildstelle

am Main. Das ..Steinerne Haus" (1464), einer der damals noch seltenen Wohnbauten aus Stein.
Frankfurt
und Ges.mse zeigen den Norden auf einem selbstandigen Weg
zur Renaissance. (.044 zerstort.)
Die ruhenden Flachen wie die waagerechten Fensterschlusse
stone examples of domestic architecture (1464). The
calm dignity of the wall-surfaces
Frankfurt. The "Steinerne Haus", one of the rare
north had an individual approach to the Renaissance. (Destroyed 1944.)
window-heads and the entablature
sills, and show that the
21 the horizontal
 * -
A.

Foto Mo'burg

Florenz. Der Palazzo Ruccclai (Alberti, 1446) hat als erster Bau ein Kranzgesims als AbschluB,
dazu uber den geglatteten Quadern und den Querbandern eine senkrechte Cliederung durch Tilaster.

Plorence. The Palazzo Ruccelai (Alberti, 1446), the first building toTOast a great crowning cornice.
Over the freestones and the transoms a vertical effect is obtained by the use of superimposed pilasters. 22
 — — «*-. l I
-

T i
L_^-UJ i . L t j,A 1. L,L,I,-1 i , L, » - l t ' ,

JXZLloj
,
,

Foto Morburg

nur sieben Fensterachsen breit;

Floret Palazzo Pitti (nach 1460. Alberti zugeschrieben). Urspriinglich
unddie Quarzit-Quadern geben ihm ein hero.sches Anthtz.
155a stark verbreitert. Die machtigen Fensterbogen
each storey
Originally there were only seven windows across
Florence. Palazzo Pitti (post , 4 6o, attributed to Alberti).
quartz freestones lend .t an hero.c a.r.
massive window arches and the
23 but in 1550 the facade was considerably widened. The
Florenz. Hof des Palazzo Medici-Riccardi, 1444 von Michelozzo fiir Cosimo de'Medici begonnen, 1657 an die Riccardi verkauft.
Der Arkadenhof. den die meisten Palazzi wiederholen. stammt von den Klosterhofen ab.

Florence. Courtyard of the Palazzo Modici-Riccardi, begun by MicnRozzo for Cosimo de'Medici in 1444, sold to the Riccardi family in 1657.
The cortile to be found in most Talazzi was inspired by monastic cloisters. 24
 Curtgesimse
Alina
Florenz Der Palazzo Strozzi wohl von Benedetto da Maiano). Nur durch die beiden
(1489,
Aufgabe der wieder reicher gliedernden Lockerung stellt.
Kranzgesims gegliederter Block, ein Ur-Bau, der der Zukunft die

25
und das schattenfangende

Florence. The Palazzo Strozzi ( I4 8o, presumably by Benedetto da Maiano). With

it shows a new approach, though
the task of
its two moulded string-courses

achieving
"^^^^^
airiness through richer art.culation is left to a future age.
 Keffl

Treppenturm und die Hausfront

Venedig. Hofseite des Palazzo Contarini (1490). Der aus romanischer Tradition erwachene
sind in ein venezianisdi heiteres Spiel won Arkaden aufgelo^t.

Venice. Courtyard of the Palazzo Contarini (1409) Arcades grace the facade and the spiral staircase in the Romanesque tradition. 26
 Crema, Lombardei.
5. Maria della Croce,
eine Wallfahrtskirche,
1490 im Sinne Bramantes
von Battagio begonnen.
Zentralbau aus
Backstein, auBen rund,
innen achtseitig,
mit vier Anbauten.

Crema, Lombardy.
5. Maria delta Croce,
a pilgrimage church,
begun by Battagio
in 1490 in the style
of Bramante. Central
plan executed in brick,
circular exterior,
octagonal interior,
with four additions.

Mailand.
Dominikanerkirche
S. Maria delle Grazie.
Dem um 1470 noch
gotisch erbauten
Langhaus fiigte
Bramante 1492—97 einen
Zentralbau an.

Milan. Dominican
church of S. Maria delle
Grazie. Central plan
church (1492—97) added
to Gothic nave (c. 1470)
by Bramante.

27 Alii
T-nL
 ^ppwyr mmr
n««

stark auf den Norden eingewirkt haben.

Mailand Sdimudcformen der lombardischen Renaissance, die
alternierend in Kande er ube " e
Oben: Ost-Apsis von 5. Maria delle Grazie (siehe 5.

Links: Sakristei von S. Satiro (Bramante X480-88).

z 7 u.)- Sockel mit Medaillons. Pilaster

Fries mit Putten und Medaillons 1485 von Agost.no de,

»^
Fondut, ^
da Padova.

Ornamentation of the Lombard Renaissance which strongly influenced the north.

Milan
with medallions. Pilasters alternate with candelabra*.
bottom). Pedestal
Above- eastern apse of S. Maria delle Grazie (cf. p. z 7
Sariro (Bramante, x'sc-SS). Frieze w„h symbolic
child figures and medallions executed by Agost.no dei Fondut. da Padova - m*
29 Left: sacrist, of 5.
**»./»»•

Mutler-onjnlce

30
 -

;u:

Jeiter

In Xorditalien wirkt sich die Aufnahme des Antikischen vorwiegend im kleinformigen Schmuck aus,
Grogformen iiberzieht. Links: Venedig. Scuola di San Rocco (1524-60).
der die noch mittelalterlich ersdieinenden
Pavia. Die Marmorfassade der Kartauser-Klosterkirche (Ende d. 15. u. 16. Jh.). als Sdiauwand ausgebildet.
Oben: Certosa di

In North were to be found mostly in the field of ornamentation,

Italy, classical influences
appearance. Left: Venice. Scuola di San Rocco (1524-60)-
and architectural forms still preserved a medieval
Certosa di Pavia. The marble facade of the Carthusian conventual church, a remarkable frontispiece.
Above:
I

Der harmonischen Geschlossenheit und „Richtungslosigkeit" der Renaissanceformen in Italien

entsprechen ahnliche Tendenzen in der Spatgotik des Nordens. Obcn: Bamberg. Flachiges, in sich ruhendes MaSwerk vom Chorgestiihl (vor 1400).

Rechts: Stargard. Abschwachung der vertikalen zugunsten der horizontalen Wirkung an der Giebelwand des Rathauses (Mitte 16. Jh.).

The harmonious compactness and "lack of direction' of Uai.an Renaissance forms is also to be found in northern Late Gothic.
Above: Bamberg, side-piece of 4 choir-stall (pre 1400). Righ™Sfargor<i. Weakening of vertical tendencies in favour
of the horizontal in the gable face of the town hall (mid-i6th century). 32
Hartz

33

tv - -it
 Wien. Der FuG (1513) der Orgel
Stephan ruht auf verflochtenen
in St.

Hohlkehlrippen in Fischblasenform.
Als Selbstbildnis die Buste des
Meisters Anton Pilgram.

Vienna. The base (1513) of the organ

in St.Stephen's rests on
interwoven cavetto ribs.
The bust of the master Anton Pilgram
is a self-portrait.

Chmel 34

S3
Schmidt-Glassner

Prag. Der Wladislaw-Saal in der Burg (B. Rieth, 1484—1502), riesiger Kronungssaal der bohmischen Konige.
In der spatesten Gotik verlieren die Gewblberippen ihre gliedernde, tektonisch tragende Funktion und werden zu raumverbindenden Zierformen.

Prague. The huge Vladislav Hall in the castle (B. Rieth, 1484—1502), scene of the coronation of the Bohemian kings.
35 In the last phase of Late Gothic, rib-vaulting loses its architectural function and becomes a decorative form.
 V n
J

Sdimidt-Glossner

Das neue Menschenbild der Renaissancezeit — diesseitig, forschend, griiblerisch — auch im Norden.
Oben: Ulm. Der antike Philosoph Ptolemaus am Chorgestiihl des Miinsters. (Um 1470, Jorg Syrlin d. A.)
Redlts: Slrapburg. Frauenhaus der Munsterbauhiitte. MutmaRliches Selbstbildnis (um 1470) des Bildhauers Nikolaus Gerhard von Leyden.

Above: Ulm. The ancient philosopher Ptolemy from a cathedral ihoir-M.ill (c. 1470, Jorg Syrlin Sr.).
Kight: Strasbourg. Frauenhaus Museum. Probably a self-portrait (c. 1470) of the sculptor Nikolaus Gerhard of Leyden. 36
F7 \ \ «

#"

--
j_ ^j ^P
 RengerPo'zsdi/Bovarlo

Foto Marburg

Danzig. Blick durch die Marienkirche. Oxfcr(f. Aufgang zur Halle von Christ Church. Das erst um 1635 geschaffene
Die Stern- und Zellengewolbe (1502) Kelchgewolbe offenbart, in welchem MaGe diese „spatgotischen" Formen
vollenden das Wesen der Hallenkirche, deren Raum nicht gerichlct ist, der Baugesinnung der Renaissancezeit entsprechen. (Treppe erst 1805)
sondern richtungslos flutet.
Oxford. Staircase leading to the hall of Christ Church (founded in 1525).
Danzig. View of the Marienkirche. The star and cell-vaulting (1502) * Fan-vaulting on the central pillar (c.1635):
complete the essence of the "hall chimh" a survival, or revival, of the original style. (Staircase 1805.)
38
 SF.

- 1
ft

'^

YVWi*

'-'.
'>..
 Kerff

Felfon

Spatgotische Formen, die nur noch im Dienste flachiger Dekoration stehen. Oben: Venedig. Die Ca d'Oro (1421—40) am Canale Grande.
Rechts: London. Die gereihten Kelchgewolbe in der saalartigen Kapelle Heinrichs VII. (1503—19) stiitzen nicht mehr, sondern hangen herab.

Lafe Gothic forms, of decorative, no longer of structural importance. Above:Venice. The Ca d'Oro (1421—40) on the Grand Canal.
Right London. The pendant fan vault in the hall-like Chapel of Henry VII (1503—19), no longer a support.
The Tomb of Henry VII (below) is the work of Pietro Torrigiani (1512-1518); the surrounding bronze grille by Laurence Imber. 40
 r«i

^H 1

ic
* JtftIK *v
siraf
 r ^.
8

#a& rN
*
I!

T
H
•
*! .
>Akff

<**:

If

Cash
L
Englische Baukunst zwischen Gotik und eigenstandig wachsender Renaissance. Links: London, Kapelle Heinrichs VII. an der Westminster
Abbey.
Die Strebepfeiler sind in Turmchen verwandelt, die in Kuppeln enden. Das enge Stabwerk hat raumschlieSenden Charakter.
Oben: Canterbury. Tor zur Christ Church (um 1500). Betonung der schlieGenden Wand und der waagerechten Bander.
Dazu Riickgriff auf den Rundbogen - die Architektur einer Cbergangszeit.

English architecture in the transitional stage between Late Gothic and genuine Renaissance.
Left: London. Buttresses of Henry VII's Chapel (1503-1519), Westminster Abbey. •'*
43 Above: Canterbury. Gateway to Christ Church (c. 1500). A new emphasis on the horizontal, but also a return to the Norman arch.
 Roubier

Der Biirgerbau im Norden

bleibt der aus dem Holzbau

si
iiberkommenen Grundform
— mit Steildach und Giebel —
HL verbunden.
Links: Cent, Belgian.
Hauser an der Graslei aus
den Jahren 1531, 1692,
um 1200 (v. r. n. 1).

Rechts: Antwerpen.

^tf* 1*^11 *M?. I T Zunfthauser

zwei (rechts) noch
am Markt -

spatgotisch (15. Jh.). die

andcren (16. Jh.) schon mit
rechteckigen Fenstern unter
manieristischen Giebeln.

-I In the north, domestic

architecture keeps closely to
the traditional form of the
timber house.
Left: Ghent, Belgium.
Houses on the Graslei
dating from 1531, 1692,
c. 1200 (right to left).

Right: Antwerp.
Guild houses in the

market-place, the two on

« 4
the right still Late Gothic
(15th century), the others
(16th century) with
rectangular windows beneath
Mannerist gables.

Stodsbesluur 44
 tV *
I &&
.1

I
f
\

if

^
v-
M

f 4 ||
*A
r
1

1 31 '

f:
r\ *~ mi4f
l-Pi..v.-j

• »
i
" 1
i
 1

f
'•
.

->-'.
fir

«
»•'.-•

MMkUlU
*

oi oj aj jj oj oj

r
I i

f '
1
in
5rar iw
• -«,.

ir-
 Schneiders

Auch der Holzbau nimmt in altaahUchen, Ubergang Renaissance-H.en.ente

Noch steiler Giebel. schon Betonung der Waagerechten; Renaissanceschmudc
^^^^^SJ^S^S-
a«f Links: ^eskeijn
am Holzwerk. Oben: OsnabruA. U.llmannsches Haas.
Deta
,

47
Even t.mber structures gradually take on Rena.ssance features.
Gable still steep, emphasis already on the horizontal; Renaissance
Lo^
Left: HiUesHeUn.
^^^X^^oILn^ 1S2Z£^£*
ornamentation on the t.mbenng. Abo^e. Osnabru*. Detail
 7

w
V*

^t

*1

::;

I
I 1

Toylor

Archives Photographiaues

Cocenfry, Woroidcs/iire. Ford's Hospital. 1530 erbaut, ist der Angers, Frankreich. Maison d'Adam, Fadiwerkhaus des 15. Jh. in der alten Hauptstadt
Kriegszerstorung im Jahre 1940 weitgehend zum Opfer gefallen.
von Anjou. Rautenformig sich durchkreuzende Balken als Flachenschmuck.

Angers, France. Maison d'Adam, a 15th century half-timbered house in the old
Coventry. Ford's Hospital, built 1530.
capital of Anjou with lozenge-shaped inter-crossing beams.
was damaged during World War II (1940).
48
 Edwin SmitK

Needham Market, Suffolk. Die kunstvolle Holzdecke (um 1460) des Langhauses der Kirche.
Wie immer, bedcutet die Kirchendecke den Himmel, an dem Engel •rscheinen.
Needham Market, Suffolk. The timbered roof (c. 1460) of the nave. As so often, the decoration symbolises heaven peopled by angels. 50
 Jendenz.
Moreton Hall, Cheshire. Die Fullbalken ta Fachwerk (x559
und spater), hier nur no* Zierde. zeigen ausgewogen-ruhende
little
regionalen Eigenheiten, bleibt in semen Grundformen weithin bestandig.
Der Fachwerkbau, reich an
decorative half-timbering (1559 and later) shows
tendency towards symmetry.
Little Moreton Hall, Cheshire. The purely
 Aus den funktionsgebundenen Formen
dcr Golik erwachst in der Renaissancezeit
ein neuer Naturalismus.
Links: Chemnitz. Nordtiir der SchloGkirche
(Hans Witten, Das MaGwerk ist in
1525).
ein Geriist von Stammen mit Astansatzen
umgcbildet.
Rechts: Valladolid, Spanien.
Fassade der Kapelle San Gregorio
(Juan Guas, 1488). Eine unabhangige
Entwiddungsparallele: Ober dem
eingesunkenen „Eselsriicken" des
Portalbogens ebenfalls das Baummotiv.
Dazu maurische Formen.
Folo Marburg MAS
During the Renaissance period a new naturalism grows out of the functional forms of Gothic.
Above: Chemnitz, Saxony. North door of the Castle Church (Hans Witten, 1525). The tracery Is enclosed in a framework of stems and branches.
Right: Valladolid, Spain. Facade of the Chapel of San Gregorio (Juan Guas, 1488). A parallel but entirely independent development: the tree-motif
is to be found here too, above the centre ogee-arch along with Moorish decorative forms. 52
jiMHB
 YAN
Kloster Belem bei Lissabon. der Hieronymiten-Klosterkirche (D. Boitaca und J. de Castilho, 1502-19).
Mittclschiff
Achtkantige Pfeiler, mit Renaissance-Grotesken verziert, in einer Hallenkirche mit spatgotischen Stemgewolben.

BeUm Monastery near Lisbon. Central aisle of the conventual church of the Hieronymites (D. Boitaca and J.de Castilho, 1502-19).
Octagonal shafts adorned with Renaissance grotesques in a "hall church" with Late Gothic star-vaults. 54
 :«

m
•« <

i^T\:

**=*

Sdimidt-Glassner „manuelischen" Stils in Portugal.

8 des Klosters,
Be/em Kreuzgang urn von Joao de Castilho, dem Schopfer des
! 5 20
8
bliihende Mischung von spanischer Spatgotik und italienischer Renaissance.
Eine phantastisch
creator of the Manueline style in Portugal.
Belem. Cloisters (c. 1520), the work of Joao de Castilho.
Renaissance.
A fantastic mixture of Spanish Late Gothic and Italian
&J- isl
MJv
f;.v«
 i
^w
,+* +

iA

Groth-Schmachtenberger

Stoedtner

Bourg-en-Bresse, Ostfrankreich. Lettner der Kirche von Brou, Valladolid, Spanien. Der zweite Hof des Colegio de San Gregorio
die Margarete von Osterreich 1511—36 errichten lieS. (Simon von Koln, 14S&—96).
Die Bautendenz des neuen Zeitalters deutet sich im horizontal gelagerten Manieristisches Cbervuchern des Dekorativen
und flachigen Charakter des spatgotischen Mafiwerks an. in der spanischen Spatgotik.

Bourg-en-Bresse, East France. Choir-screen of Brou church, Valladolid, Spain.

built 1511—36 at the instigation of Margaret of Austria. The second court of the College of S. Gregorio
The architectural tendency of the new period (Simon of Cologne, 14SS—96).
is shown in the horizontal character of the Late Gothic tracery. Mannerist riot of ornament in Spanish Late Gothic.
57
 . . — «. 1
Sdimldr-Glassner
YAN

m. Der die Tajomiindung bewachende Turm de Arruda, 1515-21).

Tomar, Portugal. Fensterumrahmung im Christusritterkloster —
(F.

Glatte Flachen und Rundbogen

ein Beispiel des durch maurische Formen bereicherten „estilo mudejar",
als Ruckgriff der Renaissance auf die Romanik.
in den die iberische Gotik miindet.
Belem. Tower overlooking the Tagus estuary (F. de Arruda, 1515-21).
Tomar, Portugal. Window-frame in the chapter-house, an example of the
Smooth surfaces and Norman arches, indicative of a return to the Romanesque
"estilo mudejar", the end of Iberian Gothn.
58
 iivrv
:M4 JL

*. -Jt

* • !*!
t
I -
W
"'' J~7

23m

Ol *

J5SK"

j ca $Hju?^a'»!«
* •-*

««*

Ka^ < Q#'

 Wolff & Trilschler

Ehem Slootl Bildsielle

Auz<burg. Grabkapclle (1500-18) der Familie Fugger

-
nn. Der Turm von St. Kilian (Hans Schwc-iner, 1S13-29).
Romanische Besticn. der erste deutsche Bau, der italienische Renaissanceformen aufnimmt.
Noch mit spatgotischem Sterngewolbe. (Vorkriegszustand.)
eigenwillig verschmolzcn mit Renaissanceformen.

(Hans Schweiner. 1513-29). Augsburg. Mausoleum (1500-18) of the Fugger family,

Heilbronn, Wurtemberg. The tower of St. Kili.in 's
the first German structure to adopt Renaissance forms
Romanesque beasts mingle
though retaining the star-vault. (Pre-war photograph.)
with Renaissance forms in a highly individual manner.
60
 Foto Marburg
EQlingen, Wiirttemberg. Vorplatz im ObergeschoB des Rathauses (Heinrich Schickhardt, 1586).
In gedrungenen Proportionen, mit spatgotischen und Renaissance-Formen durchgefiihrt.

Esslingen, Wurtemberg. Entrance-hall in the upper storey of the town hall (Heinrich Schickhardt, 1586).

Though its forms are those of Late Gothic and Renaissance, it is aV^oduct of the Renaissance in its compact proportions. 62
 >k i

Jeiter und Beinhaus (links, ,676). Die Eigenart der Bretagne,

5 Thigonnec, Bretagne. Kirche mit Triumphpforte (1587)
Schmuckfreude, setzt sich auch im Zeitalter der Spatgotik und Renaissance durch.
bestimmt durch keltische
(left, 1676). The Celtic love of ornamentation
S
s. inegonn^, D
Thegonnec, Brittany.
a
Church with triumphal door (1587) and charnel-house
triumphs during the Late Gothic and Renaissance periods.
63
 Ke'fl

Liineburg.Von einem Giebel (1548) der StraBe Am Sande. Renaissancecharakter auch im Backsteinbau: mit qucrlaufenden Taustaben,
Aachen Korbbbgen und Medaillons.
"Am Sande". 64
Liineburg. Part of a gable (1548) in the street
 I
v/'

fe

a>

M
\

•Hi*. ,
i

Kusch

Plassenburg (Caspar Vischer, 155X-69).

Kulmbach, Oberfranken. Arkaden im „Scbonen Hof" der
lombardischen Vorbildern - in Deutschland bevorzugt
gegenuber den groBflachigen toskan.schen.
Flachreliefs nach

Hof" of the Plassenburg (Caspar Vischer, 155x^9). Bas-reliefs in the Lombard style.
Kulmbach, Upper Francon,a. Arcades in the "Schoner
65
Torgau a. d. Elbe.

Schlofi Hartenfels (Konrad Krebs,

1533—35). Dber den Fenstern
spatgotische Gardinenbogen, an dem
VVendelstein aber Pilaster mit
antikischen Renaissancegrotesken.

Torgau on the Elbe.

Hartenfels Castle (Konrad Krebs,
1533—35). In front of the staircase
pilasters with Renaissance
grotesques.

Ehem. Staatl. Bildstelle

Blois a. d. Loire.
Der Turm des von Charles Viart
erbauten SchloSfliigels (1515—25)
ahnelt dem von Torgau, steht aber
durch gedrungene Form und
waagerechten Abschlufi
der italienischen Renaissance naher.

Blois - sur - Loire.

The tower of the chateau wing,
built 1515—25 by Charles Viart.

67 Roubier
^
- .» .,
{r
-^ ."» *V*

JCLfc
Deutsdier Kunswerlag

Foto Morburg

Paris. Louvre. 1546—55 schuf Lescot den altesten Fliigel des Prachtschlosses Heidelberg. Ottheinrichsbau (1556-59) des Schlosses. Die Verwandtschaft
der franzbsischen Konige. Eine klassische franzosische Renaissance, mit dem Louvre zeigt, wie in diesen beiden Bauten auch im Norden
die noch Jahrhunderte fortwirken sollte, entstand hier aus dem klaren die Renaissance mit ihren „Ordnungen" sich durchsetzt.
Begreifen des italienischen Vorbilds.
Heidelberg. The castle, Ottheinrichsbau (1556—50),
Paris. Louvre. Lescot designed the oldest wing of the French kings' similar in construction to the Louvre. In the north too the Renaissance
palace between 1546 and 1555. "orders'
-
are beginning to make their mark.
69
L
 Archives Photographiques

Roubier
Renaissance, Pierre Lesco ''
umgebaut) ist ein architektonischer Zierbau des Hauptes der franzosischen
Paris. Die Fontaine des Innocents (1547-49, spater
Louvre) edelsten Werke des manieristischen Stils in Frankreich.
Links: Die heutige Gesamtansicht. Oben: Die Quellnymphen des Jean Goujon (Originale im sind die

Paris. The Fontaine des Innocents (1547-49, with later alterations) is a purely decorative structure by the head of French Renaissance,
Louvre).
71 Pierre Lescot. Left: general view. Above: the Nymphs at the Spring by Jean Goujon (originals in the
 /lzfly-(e-Ri<feai< "• Indre.

Der Schloghof (1518-27) mit

dem rechtwinklig gebrochenen
Treppenhaus unter dem
Hauptgiebel. Die schlanken
Saulen des mittleren Erkers

m miiMM^M^Mm& *mtm& und die vier steilen Giebel

mit ihren Obelisken sind erste
Zeugen des manieristischen
Stils.

Azay-le-Rideau - sur - Indre.

*
4T JSt3t**" <^/ ;

"N Courtyard of the chateau

(1518-27) with the rectangular
cage of the staircase under the
main gable.
Jeiiet

Wismar, Mecklenburg.
Der Fiirstenhof (Ziegelbau,
1550—55), nach einem von
oberitalienischen Palazzi
bestimmten Plan von
niederlandischen Baumeistern
errichtet. Die Gesimse mit
Reliefs lombardischer Art
in Kalkstein und Terrakotta
gefullt.

Wismar, Mecklenburg.
The Fiirstenhof (brick building,
isso-55) constructed by
Dutch architects following the
plan of the Italian Palazzi.

Foto Morburg 72
T* J
•;'"*
••••. .-
^Trrm
r

^*^*£
74' V**
.
.»i> rtT>- fry.'
•
Chambord a. d. Loire.
"' Das riesige WasserschloG
Konig Franz I., 1519 begonnen,
im 17. Jh. vollendet.
Der Mittelbau gipfelt in
vertikalen Formen des
franzosischen Manierismus,
mit einemHeervonDacherkern
und Schornsteinen.
Chambord - sur - Loire.

The huge chateau begun by

Francis I in 1519 and completed
in the 17th century.

Jeiter 75
 5 —- dt- 3 assnei

Amboise a. d. Loire. Das SchloS wurde 1490 von Konig Karl VIII. begonnen, Rigny-Usse SchloB mit Donjon (Wohnturm) des
a. d. Loire. 15. Jh.

der eine italienische Kiinstlerkolonie hierher berief. Gesims und Balustrade -.er I !e manieristischer Turmchen und Schornsteine aus dem ip. Jh ,

betonen die Horizontale. Mit den Dachfenstern, die Kielbogen aus sich die eine franzosisch-gotische Tradition weiterfiihren.
wachsen lassen. bncht im 16. Jh im Manierismus,
,
Von Vauban im 17. Jh. vergroBert.
die Vertikale wieder durch.
Rigny-Usse - sur - Loire. Chateau (15th century) with donjon and an abundance
Amboise - sur - Loire. The chateau was begun in 1490 by Charles \ of turrets and chimneys from the 16th century.
who summoned there a colony of Italian, .artists. Extensions by Vauban in the irth century.
76
%&
mm
 Roubier

Chcnonceaux. Das SchloB wurdc nach 1515 mitten im Cher, Verschiedcne Stufen in der Ancignung des italienischen Baukanons
einem NebcnfluB der Loire, der Renaissance. Rechts oben: Tontaine-Henry, Normandic (1533-44).
fiir einen reichen Burger errichtet. Ober dem Renaissancebau gotisch-steile Dacher und Schornsteine. Rechts unten:
Waagerechtes, um die halbrunden Vorspriinge verkrbpftes Gesimsband; Azay-le-Rideau,Wasserfront. RegelmaEige Anlage, schweres, durchgehendes Dach.
e-Dadlfenster. Normandy (1533-44)- French sloping roofs
Right, above: Fontaine-Henry,

Chcnonceaux. The chateau (post isisi w,is built astride the Cher, and chimneys inthe Gothic tradition above a Renaissance structure.

a tributary of the Loire.

Right, below: Azay-le-Rideau. Facade overlooking the Indre.
Foto Marburg

i MM 11

#^*^J^^»* * *^^
HXS1V ^"^ f^B^H
r* ^li
Sdimidt- •

Glassner

79

* *
 Foto Marburg

Aerofilms Ltd
ihre Venvirklichung im GroGen wie im Detail.
Ein Streben der Renaissancezeit: das Aufspiiren von Harmonieregeln und
Palmanova, Venetien. Eine der friihesten planmafiig angelegten Stadte (Scamozzi, 1593)- Oben: Burgos, Spamen.
Links:
spatgotischen Sterngewolbe entwidkelt und mit einem schimmernden
Grunde hinterfangen.
Stern im Vierungsgewolbe (1539-68) der Kathedrale, aus dem
(Scamozzi, 1593)- Above: Burgos, Spam.
Left- Palmanova, Venetia, one of the earliest examples of town-planning
of the cathedral - a development of Late Gothic stellar vaulting.
81 Star in the vault (1539-68) over the crossing

F
 •

I
--= arr

*' i

Foiolhek 82

I
 Foto Marburg

St. Peter, 1557 von Michelangelo

entvvorfen.
kurzen Moment Rom. Kuppel von
Rom. Der Idealbau der Hochrenaissance - die nur einen
und Barock: Aus den gedoppelten Saulen
Auf dem Wege zu Manierismus
in der Menschheitsgeschichte ausmacht
- ist Bramantes Tempietto (1500-02)
Harmonie. steigen Kraftstrome durch die Rippen bis in die Laterne.
von San Pietro in Montorio. Vollkommene, in sich geschlossene

- Rome. Dome of St. Peter's designed in 1557 by Michelangelo,

Rome. S. Pietro in Montorio. The ideal structure of the High Renaissance
- already suggestive of Mannerism and Baroque.
which lasted for only a brief moment in the history of mankind through the ribs,
Waves of strength rise from the double pillars,
is represented by Bramante's Tempietto (1500—02). right up to the lantern.
Complete, self-contained harmony.
 L

>*kfl

*>

84
 pcrjac^j
I

- .

\\\ >". i .

I
Jr' <<J
H J
"'
%M »• .^^Tl
V /
1
u ^r
:/ . A * V 1

Haw i; 1
1

Degenhardt

Kersting
Massen
von Bramante begonnen, das von Michelangelo. Dieser Raum mil seinen ungeheuren schwebenden
friihe Sichtbare seit x 5 47
Rom St Peter. 155 o6
Blick ins Quersch.ff. Oben: Die Kuppel.
Links:
b edeutet den Gipfel fur den Kirchenbau der Hochrenaissance.
part (after 1547) is the work of Michelangelo.
Rom,- St Peter's, begun by Bramante in 1506. The earliest visible
Renaissance ecclesiastical architecture. Left: transept. Above: cupola.
It is the supreme masterpiece of High
85
Alinorf

86
 Stefoni

87 Sirs issrsrr =£=: r.r=s ;s&i=«:MSK=rf.£:

 J

Alinori

Foto Morburg

Florenz, S. Lorenzo. DieNeue Sakristei (1-20-24). Grabkapelle der Medici, zeigt Michelangelo auf dWWende von der Hochrenaissance zum Manierismus:
Machtige Pilaster beengen bereits die Nisihen (oben). Rechts: Sarkophag des Lorenzo de'Medici mit den Allegorien von Morgen und Abend.

Florence. The Medici Mausoleum (1520-24) in the New Sacristy of S. Lorenzo reveals Michelangelo at the turning point between
High Renaissance and Mannerism. The niches (above) are confined by mighty flanking pilasters.
Right: sarcophagus of Lorenzo de'Medici showing the allegories of la«n and Evening.
88
 L

Alinari 90
 a "a-;

Rom. Im Palazzo Farnese (Antonio da San Gallo, 1514—86) findet sich Florenz. Biblioteca Laurenziana,
der am reichsten im Sinn der Hochrenaissance gegliederte Palazzo-Hof. Wandgliederung im Treppenhaus (1526 von Michelangelo entworfen).
Oberstes GeschoG von Michelangelo. Die Ausgewogenheit der Hochrenaissance ist abgelost
durch eine unausgeglichene Gedrangtheit dekorativer Effekte: Manierismus.
Rome. Palazzo Farnese (Antonio da San Gallo, 1514—86)
with the most superbly articulated High Renaissance cortile. Florence. Biblioteca Laurenziana.
Top storey by Michelangelo. The flanking wall of the staircase (designed by Michelangelo in 1526).
 ;

Rom. Durchdringung
von Malcrci und Architektur:
Raffaels Fresken
in der Stanza dclla Scgnatura
im Vatikan (1508—10) -
Gipfel der Renaissancemalerei.
Der ParnaB links
bcdeutet die Poesie —
die „Schule von Athen"
rechts die Philosophic

Rome. Marriage of painting

and architecture:
Raphael's frescoes in the Stanza
della Scgnatura in the Vatican
(1508—10) — the crowning glory
of Renaissance painting
The Parnassus on the left
indicates Poetry —
the "School of Athens"
on the right Philosophy.

92 Al.r.on
 - 1

S-" -*

p^^^^4
a III-
m
j
•
r *1j
«Q 1 | II
rim
* 1

if
1?
^^H |
t—
iJl^V Ky ^L, Llf

|»jj|
fc
 k.

^^j

^
>

W
^
n
II

15
i 1

y —- '

V
^^-
\i ^H.^^ ki
- - z

Alinari

Venedig. Der Palazzo Vendramin-Calergi (Pietro Lombardo, 1481). Rom. Die Gartenfront der Villa Medici (A. Lippi, 1544),
Hauptbeispiel der venezianischen Friihrenaissance, die reicher dekoriert ist geschmiickt mit Stukkaturen
als die toskanische. Gegliedert durch korinthische Pilaster und Saulen. und Bruchstucken antiker Statuen.

Venice. The Palazzo Vendramin-Calergi (Pietro Lombardo, 14S1). Rome. Facade of the Villa Medici
Principal example of the Venetian Early Renaissance, overlooking the garden (A. Lippi, 1544),
richer in ornamentation than the Tuscan. decorated with stucco-work and fragments of classical statuary
95
 PERI
Augustusburg, Sachsen. Das Innere der SchloBkirche (wohl von E. van der Meer, 1568--01
mit Emporen und quadrierten Tonnengewolben in strengen, n.ederlandischen Renaissanceformen.

Augustusburg, Saxony. Interior of the castle church (probably the wo; f E. van der Meer, 1^68—79),

with tribune and intersecting barrel-vaAs in the severe forms of tr Dutch Renaissance. 96
 %

II

> J

1
1
1
1
m 1 j

MAS

de Valdelvira, naA 1532) in den zu jener Zeit international gewordenen Renaissanceformen.

lain, Spanien. Die Sakristei der Kathedrale (Pedro
in the Renaissance forms which by then had become international.
lain, Spain. Cathedral sacristy (Pedro de Valdelvira, post 1532)
97
 Row. Der Hof des Palazzo Massimo alle Colonne,
Granada. Der Hof im Palast Kaiser Karls V
seit 1552 von Baldassare Peruzzi in den strengen
Ma8veih51tnis9en
auf der Alhambra (beg. 1526 durch Pedro Machuca).
der Hochrenaissance erbaut.
Der der italienischen Hochrenaissance am nachsten kommende Bau Spaniens.
Rome. Courtyard of the Palazzo Massimo alle Colonne,
•
ada. Courtyard in the palace of the Emperor Charles V
built by Baldassare Peruzzi after 153*.
in the Alhambra (begun by Pedro Machwa in 1526).
99
 i

^ Foto Marburg -^-

Venedig. Fassade von II Redentore, d. h. Erloserkirche, Venedig. 5. Giorgio Maggiore, 1565 von Palladio begonnen,

1577—02 von Palladio als viersaulige Tempelfront errichtet, mil tonnengewolbtem Langhaus und Kuppel in dem grofiflachigen,
mil i-iner kontrastierenden kleineren Front um den Eingang. wesentlich durch die Proportionen wirkenden Stil der Spatrenaissance.

Venice. Four-columned, temple-like facade of II Redentore Venice. S. Giorgio Maggiore, begun by Palladio in 1565,

(Church of the Redemption), built by Palladio 1577-9* with the barrel-vaulted nave and cupola

with a contrasting pillared portico. in the harmoniously proportioned style of the Late Renaissance.
100
 \»u

*
 Alinori

za, Obcriiab.cn Die Villa Rotonda (1552), ein Hauptwerk Palladios, Zwei weitere Hauptwerke Palladios (rechte Seite).

des Begriinders eines regelhaft-akademischen Stils. Oben: Palazzo della K. -. :t

1549 zur Basilika umgestaltet).
Jeder Quadratseite ist eine Tempelfront vorgelegt. Cber einer dorischen eine jonische Bogenhalle. Unten: Palazzo Chieregati (150c).

Goethe bewunderte dieses Gebaude besonders, Charakteristisch tu%die Spatrenaissance: Auflockerung der Blockform durch Saulenhallen.
- den allseitig
-.za. Another two of Palladio's major works (right-hand page).
harmonisch entwidcelten Menschen spiegelt.
Above: Palazzo della Ragione (converted into a Basilica in :

Ua Rotonda (lj ..des consist of superimposed Doric and Ionic orders. Below: Palazzo Chieregati (noo)
a major work of Palladio. An effect of lightness is achieved by the addition of an order
rms a square with a pillared portWB to each face. to the rusticated lower storey, a typical Late Renaissance feature.
 '

I *

Aline WM

^m
i

J" "» '

LllltltlfftfflftftfHOTHUUHJ

I
k
i

103 Alinari
 w
r jnti
m

m &r m
wnm »i r «wi r ™rm
&9®&p~cvZq£t ?£Jgg|PfllSli

II

Alinori

Alinari

Florenz. Hof der Uffizien (Vasari, 1560—74). Venedig. Die Alte Bibliothek (J. Sansovino, 1536—53),
Hauptbeispiel fiir beengende „Raumschlucht" des Manierismus,
die prachtreichster Bau der italienischen Spatrenaissance.
jenes Stils, der die Hochrenaissance ablost. Doppelhalle von Bogenpfeilern zwischen Halbsaulen,
das untere Gesims dorisch, das obere mit Festons (Fruchtgehangen) geschmiickt.
Florence. Courtyard of the Uffizi Palace (Vasari, 1560—74),
showing the narrow effects achieved by Mannerism — Venice. The Library of St. Mark (J. Sansovino, 1536—53),
the style which follows High Renaissance. the most lavish structure of the Italian Late Renaissance.

105
 Foto Marburg

Rom. Die Jesuitenkirche Cesu. Fassade von Giacomo della Porta, 1573 entworfen.
II

Zweigeschossig, durch Pilaster, Drciecks- und Segmentgiebel gegliedert.

Rome. The Jesuit church of II Gesu. Facade Giacomo della Porta, defied 1573.
 Langhaus
Foto Marburg Rom. IIGesu, Innenraum von Vignola (1568-76). Ein tonneniiberwolbtes
lichtdurchfluteten Kuppelraum. Vorbild fur die meisten Barockkirchen.
fiihrtzu einem

leads to the crossing

Rome. Gesu, interior by Vignola (1568-76). A barrel-vaulted nave
II

mighty cupola. This interior became a model for most Baroque churches
with its
107
 L

Ehem. Staotl. Bildstelle

Muller-Groh

Munchen. Die Jesuitenkirche St. Michael (W.Miller und F. SustrK 1SS2-07) /eigl an der Fassad< ilienische Formen.

verschmolzen mit einem deutschen Giebelbau. Rechts: In die gewaltige Tonne des Langhauses schneiden die Quertonnen der Seitenkapellen ein.

(Nach Kriegsschadcn wiederhergestellt.)

Munich. The Jesuit church of St. Michael (W. Miller and F. Sustris, 1582-97). Italian forms are to be seen on the facade (above)
of this German gabled structure. Right: interior (restored after suffe^ng bomb-damage.) 108
-u
V '
IB
 Busch

Keetman
seit 1563 von Eckl Spittal, Kdrnten. Der Arkadenhof des Schlosses Porcia, dessen Bau 1527
Miinchen. Turnierhof des alten Marstalls, spater Miinze,
Proportionen errichtet. von dem italienischen Architekten V. Scarmazzi begonnen wurde.
als dreigeschossige Laube in schweren
Spittal, Carinthia. The cortile of the castle of Porcia,
Munich. Exercise yard at the old Royal Stables,
begun by the Italian architect V. Scarmazzi in 1527.
later the Mint, built after 1563 by Eckl.
Ill
 -
.e e-

errichtet, zeigt drei Laubengeschosse mil toskanischen P.lastern.

Craz, Stciermark. Der Arkadenho f des Landhauses. i 55 7-«5 von Domcnico de Ulio aus Lugano
112
Groz, Styr ia. Cortilc of the prov.r. fc< -65 by DomeiA) de Lalio of Lugano.
 ''-&&&:*

m.

II
I

\ t
L

I^v

Staotsarchiv Basel-Stadt

(um sparsam und grofiflachig mit Saulen gegliedert.

Basel. Die Front des SpieShofes 1580),

by columns set wide apart.

Basle. Facade of the Spiesshof (c. 1580), articulated
Im nordlichen Europa
wachsen in allmahlichem
Cbergang die Formen
der Spatgotik denen der
Renaissance entgegen,
zumal im Profanbau.

Couda, Holland.
Front des Stadthauses
(M40-=:oi

In N. Europe
by a gradual
transition process
the forms of Late
Gothic merged into
those of Renaissance.

Couda, Holland.
Front of the city hall
(1440-50).

114
 Hi $:-Ji)lfe&
•»«*l
N I

M
i
-s
i n©
1T7
pB
1
Bbhmhmhi j » .

.**k

Roubier
Greffe" (1535-37)-
Brwgge, Belgiew. Kanzleigebaude, „Ancienne
zwischen Schwvingen ein manieristischer Giebel.
Ober der Renaissancegliederung der Geschosse

Bruges, Belgium. The "Ancienne Greffe" (i 5 35-37).

now part of the Palais de Justice.
115
 y

91
r*
 A.
<n

<--*•

1 •
i • 1

<1L*

ill Hi
rtrtrrtf

*?~

*»'#/ 9*£'4*-
i,.
''_

*'''«K

Roubter

Monumentenzorg
Hauptwerk des flamischen
Ant werpen. Rathaus (C. Floris, 1561-65). Das
Leiden, Holland. Rathaus de Key, 1597-1603). Obernahme klassischer Former.
(L. iiberladen.
Manierismus - zugleich das zuchtvollste, da nicht
fur eine nordische Fassade, die ihre besondere Wirkung
Antwerp. Town hall (C. Floris, 1561-65).
durch ein Weohselspiel von Haustein und Ziegelwerk gewinnt.
The chief monument of Flemish Mannerism.
Leyden, Holland. Town hall (L. de Key, 1597-1603).

117
 y

Glastonbury, Somerset. Der Pilgergasthof .George and Pilgrims" (1470---

Besonders in England setzen sich schon in der Spatgotik rechtwinklige Gliederung und horizontale Lagerung durch.

Cla Somerset. The George Inn (1470—75), frequented by pilgrims.

At an early date during the Late Gothic period rectangular articulafipn with the emphasis on horizontality. came into its own in England especially. 118
 (-.

*?T*
* t t

i i

m* 11
r

L... V E

Vi.

Burghley House
(1585, bei Stamford)
vermischt im Hauptpavillon
des Hofes unbefangen
das franzosische
-*•'
Triumphbogenmotiv mit einem
englischen Erkerfenster
und flamischem Schnbrkelwerk
zu einem manieristischen Effekt.

Burghley House (1585)

near Stamford.
In the main block
of the central court
a number of features contribute
to the Mannerist effect —
the French triumphal arch motif,
'I
together with an English
oriel-window and Flemish
scroll-work.

119 Kersting
I
 # a--- •
^\

:S ^

\
fefl

Edwin Smith

Kersling

Hengrave Hall in Suffolk, ein englischer Landsitz, zwischen 1525 und X538 Hengrave Hall. Der von John Sparke geschaffene Erker
von dem neu geadelten Tuchhandler John Kytson erbaut. springt auf konzentrischen Ringen dreiteilig vor die Front vor;
Der mit Wappen und Putten geschmiickte Erker iiber dem Portal die trennenden Pilaster stehen auf Gebilden,
kontrastiert mit der sonst glatten Wand. die den SchluGsteinen spatgotischer Gewolbe ahneln.

Hengrave Hall in Suffolk, a country house built between 1525 and 1538 Hengrave Hall. The balcony, the work of John Sparke,
by John Kytson, a draper recently raised to the nobility. juts out from the front in three parts based on concentric circles.
121
 II

Roubier

Paris. Die Kirdie

5. Etienne-du-Mont
(1517-1618).
Links: Cber einem
Dreiecks- und einem
Segmentgiebel ein
manieristisch steiler
Giebel. die Rose mit
spatgotischem MaBwerk
gefullt. Rechts: Lettner
(Biard, 1600—05).
Pfeiler und Gewolbe
gotisch, Tiirrahmen
zum Seitenschiff
Renaissance,
Spiraltreppe manieristisch.

Paris. Church of S. Etienne

du Mont (1517—1618).
Left: above a triangular
and a segmental gable
towers a Mannerist
steep-pitched gable.
Rose window with
Late Gothic tracery.
Right: rood-screen
(Biard. 1600—05).

Roub<er 122
 k

-^m** J*»V

'
m.
H. inXin X IU .U.UJJA AU
' '
JL
' ' ' '
-
ii

aiqp^ai
«

S*
#;ii
ar
I •

'
m i
, i i •—~m^mmm**r~*mm
i ii 1 1 ¥ «it r ii ft i
-"" """v "*" -» "" »"-" -
i
•

« . -

l4^

^^^**^ i

AJ^LLll
 Jeiier

Roubier die sich Diana von Powers,

Anet Die Fassade der Kapelle (vor 1500),
Anet, Frankreich. Haupttor des Schlosses, baute. Charakteristisch die
Favoritin des Konigs, als Crabstatte im
Schlofi
gerundete Attika und die Balustraden
1548-1552 von Philibert Delorme. Die franzosisch flachen Reliefs mit Pilastern,
welche Nischenfiguren einschhefien.
ab.
wandeln die italienischen Anregungen eigenwillig
Anet. Facade of the chapel (pre 1500)
which Diane de Poitiers,
place.
Anet, France. Main gate of the castle, the king's mistress, had built in the castle as a last resting
designed 1548-52 by Philibert Delorme.
125
1

;jbier

tg'ophiques
Plastik und Malerei des Manierismus, mit ihrer Vorliebe fiir Allegorien. leisten ihr Bestes als Dekoration im Dienste der Architektur.
Oben: Fontainebleau. SchloB. Wandschmuck von R. Rossi (um 1535) Rechts: Paris. S. Denis. Grabmal (1517-31) fur Ludwig XII

und Anne de Bretagne - einmal als Leichname dargestellt, dariiber als Lebende im Gebet.

Mannerist sculpture and painting are at their best as decoration in the service of architecture. Above: Fontainebleau. Chateau.
Mural decoration by R. Rossi (c. 1535). Right: Paris. S. Denis. Tor :>3*) of Louis XII
and Anne of Brittany — portrayed once ae corpses and above alive, ifeeling in prayer. 126
 wvv
i uii.ii vu i
* in i ii
 Roubier

Sdmeiders

Fontainebleau. Schlofi. Decke aus sechsseitigen Kassetten, SchlofS Heiligenberg, unweit des Bodensees. Der Rittersaal, dessen kunstvoll komponierte

in romischcn Vorbildern abstammen. Lindenholzdecke mit Grotesken und Akanthus gefullte Felder aufweist. (Vollendet 1584)

Fontainebleau. Chateau. Ceiling of hexagonal wood-panelling, Heiligenberg Castle not far from Lake Constance. The Knights' Hall withs its artistically
a replica of Roman models. composed lime-wood ceiling, a riot of grotesques and acanthus. Completed 1584.
128
 "

••let

*
1 p \ -**-

141 H^
Cm^^^ -^

<» ^
 1

I j
-i

Foto Morburg

.' M 130

m
!;
'Jj*
 ^

I
1
-

-*•*

"
: - c e

Fontainebleau. Oben: Der Hof des Schlosses, das Gilles le Breton fur
Konig Franz I. begann. Die geschwungene Ehrentreppe 1634
Linke Seite- Die Ausstattung des Inneren. Oben: Stuckarbeiten
..Schule von
in der Galer.e
Fontainebleau",
Franz
Quelle des
I. H.er
franzosis
von J
etabherte
Aen
^^
nach 15,0
Mamensmus
eine italienische Kunsterkolonie unter Rossi und Primaticcio die
Unten: Der Saal Heinrichs II., 1553 durch italienische Maler
und Ph. Delorme gestaltet.

Gilles le Breton. The bold sweeping staircase

by J Lemerciet 1634.
Fontainebleau. Above: Courtyard of the chateau begun for Francis I by
•

was responsible for the decorat tre n

Left page: interior decoration. Above: stucco work in the Gallery
of Francis I. A colony of Italian artists ;« _
'

II, the work of Ital.an painters and Ph. Delorme. 1553.

of French Mannerism after 1530. Below: Hall of Henry
131
 Busch

Foto Marburg
lever,Oldenburg. Die iiberreich geschnitzten Kassetten
Blois a. d. Loire. Kamin in dem von KSnig Franz I. (1515-47) erbauten Fliigel von Jever,
Der Kamin ist an der Decke des Audienzsaales im Schlog der Maria
des Schlosses, mit zartem italienischem Renaissanceornament. 1566 von Meister P. H.
Profanbau der Haupttrager des Schmuckes, wie es in der Kirche der Altar war
im
the lever, Oldenburg. The lavishly carved panelling on the ceiling
Blois - sur - Loire. Fireplace with the delicate ornamentation of the Italian Renaissance in
in the Audience Chamber of Maria von Jever's castle,
what the altar is
wing built by Francis I (1515-47)- The fireplace is to secular buildings executed by Master P. H. in 1566.
- and therefore more lavishly decorated than any other part.
to a church the focus of attention

133
 1
1

.-
**

iliti

1
I ' - "

""
II I \m. *

'
Muller-Erunke
Tubingen. Das dreiteilige Portal des Schlosses.
Frederiksborg, Danemark. Das vor 1620 erbaute Portal des Schlosses
Art Die Saulen stehen auf hohen Postamenten; eine Wappenkartusche,
(siehe Abb. 137) in dem mit Figurennischen italienischer
durch Schweifwerk mit Voluten und Soldatenfiguren gerahmt. kront das
Tor.
gegliederten Abschlugtrakt. Die „welsdie Mode" hat si*
nun audi im Norden
der bodenstandigen Baugesinnung eingeschmolzen. Tubingen, Wurtemberg. The portal of the castle.
The pillars rest on high pedestals.
Frederiksborg, Denmark. The castle portal (built before 1620.
Often the north adopts Renaissance forms only
cf. illustration 137) with Italianate niche statuettes. The "foreign fashion"
for isolated parts of the structure.
has adapted itself to native architectural forms.
135
 lT %*

I F *! ! Et .,;
ff

i 11
1
J 1
I 4 n
»
12 i:R:F,
y!

me' II
I
JgJMMMMtaWWii llil ' U I gil l

.^v

Schneiders

Aufsberg

Rothenburg ob der Tauber. Das Rathaus, dessen reprasentativer Frederiksborg, Diinemark. Das SchloS (1602—20),
Renaissancetrakt 1572—78 mit einem Erker und einem Treppenturm ein friihes Beispiel der um einen Ehrenhof
bewuGt unsymmetrisch dem gotischen Teil vorgelegt wurde. angelegten Dreifliigelbauten.

Rothenburg. Town hall. The impressive Renaissance wing (1572—78) Frederiksborg, Denmark. The castle (1602—20),
with balcony and staircase-turret was added to the Gothic part, an early example of a three-winged
creating an effect of studied asymmetry. structure grouped round a grand courtyard.

137
 Wogner
Busch

Buckeburg. Inneres der Stadtkirche (1611-15),

Buckeburg, Stadtkirche. Mehr als das Innere
einer gotisch konstruierten Hallenkirche,
vertritt die turmlose Giebelfront (erbaut von Hans Wolf)
die sich durch antike Saulen und Kapitelle
mit stark sprcchcnden Gesimsen und dekorativ krausem Schmuck
der Renaissance angleicht.
die neue Bauepoche des Manierismus.
Buckeburg. Interior of the Stadtkirche (1611-15).
l
'urg, Lower Saxony. Stadtkirche.
a hall-church constructed in the Gothic style
1

The towerless gable front designed by Hans Wolf,

with Renaissance touches — classical columns and capitals.
representative of the new age of Mandferism.
138
 ,

T
^
^ *$

\I
,
A
I
*v

tv,-r
V
-
- -

;p^j ?
> » 1 -
p
dfl

P *yj
r
D
~*-~
V
S Ls
i

fe*
?^,

»« ,«<

t £T<*
:

!lj
1 E E^
- ...

v££m
—

iLrt

rr
if

~~^1 Tin , *
[

id
—

L
 Evers

-
Hannoversdi-Miinden. Das Portal des Rathauses - Beispiel fur viele ahnliche im Norden
und Schweifwerk des Manierismus.
bereichert den Bogen und das Gesims mit seinen Obelisken sowie mit dem Beschlag-
140
Hannoversch-Miinden. The town hall portal, a model for many such in the north.
 *

»— * » ~— <Aib -"
-«ms£, sssizrsrs e —— — ——
der Tiir kontrastiert mit den iiberladenen,
spatgotischer Sakramentshauser fortlebt.

Luneburg. The council chamber of the town hall

(Albert of Soest, 1684).
 Foto Marburg

La Rochelle. Hof des Rathauses (1595-1607). Sta'mmige Saulen tragen Bogen, Hofseite des Bischofspalastes (1525-37).
Liittich.

die zum Teil frci hangen. Uber ihnen ein dorischcs Gesims, Ein manieristischer Effekt laCt schwache Saulen starkere Kelche
•
nfiguren und ein jonisches Gesims. und diese wiederum Kapitelle mit dekorativen Kopfen tragen.

La Rochelle. Town hall courtyard (1595—1607). Sturdy pillars support Liege. Episcopal Palace (1525-32) seen from the courtyard.
arches standing partly on their own. Above them are to be seen The effect of Mannerism is produced by the slender columns,
a Doric entablature, niche-statuettes and an Ionic entablature. carrying sturdier cusped capitals carved with decorative heads.
142
 II

J
-U^u_

J
1
 Niirnberg. Das Pellerhaus
(J. Wolff d. A., 1602-07,
jetzt zerstort) war ein
besonders gliickliches
Ergebnis schopferischer
Durchdringung von
nordlicher und siidlicher
Formenvorstellung.

Nuremberg. The Peller-

haus (J. Wolff Sr.,
1602—07; now destroyed)
showed a particularly
successful blending
of northern and
southern ideas
of form.

Ehem. Staoll Bildstelle

Niirnberg. Der ehemalige

Kamin im Pellerhaus laSt,
charakteristisch fur den
Manierismus, schwache
Saulen eine schwere Volute
tragen, die in der Mitte
gesprengt ist, um ein
Wappen erscheinen
?u Kissen.

Nuremberg. A typical
feature of Mannerism
is to be seen in the
former fireplace of the
Pellerhaus. Slender
columns support a heavy
volute opening in the centre
to reveal an
escutcheon.

Hodibauamt 144
 J
^
-

1 1

l^iB

1 1
V

K
 MOIIer

e, SMesien. Das Waagehaus (1604) mit Wandmalerei am Hauptblock, wie sie jene Zeit licbte,

und einem durch starke Gesimse gegliederten Giebel.

Neisse, Silesia. The Weighing Office (1604) with frescoes on the main block,
and a gable with bold cornices. 146

!
 m
m
I I J « um wsa

2 II I"lllll IMIIJ
Ji n i] 1
i yn I

lindemann Liicke stehen,

Saulen, die auf
Lemgo Lippe. Das ..Hexenburgermeisterhaus" von l57l- Gesimse und kanellierte
gliedern die Front, deren Giebel von kraftvollen Voluten
mit einem Muschelmotiv eingefafit ist.

Lemgo, Lippe. The "Hexenburgermeisterhaus" dating from 1571.

mighty volutes in shell-motif.
The front is adorned with cornices, fluted columns and a gable bordered by
147
 *H.i—ft r
T
\
^*V
'
•

r .1 jBK p

Hannover. Das Leibnizhaus

(jetzt zerstort) hatte mehr
stille Flachen als seine
Vorganger, bewahrte aber
noch 1652 am Erker und an
den Giebelriicksprungen
die gedrangte Zier des
Manierismus.

Hanover. The Leibnizhaus

(now destroyed) showed
more plain surfaces than

X its predecessors, but as late

as 1652 still preserved on
balcony and gable the
crowded ornamentation
peculiar to Mannerism.

Ehem. Stootl. Bildstelle

Bremen. Das Essighaus (1618).

Alle Flachen zwischen den
Fenstern sind mit Schweifwerk
iiberzogen, dessen Bewegung
in den Obelisken auf den
Giebelsimsen ausklingt.

Bremen. The Essighaus (1618).

All surfaces between

the windows are
chamfered as far as the
obelisks on the
gable cornices.

Soebens 148
I
v!
« r c ^-^^^^—
MM J • vS ^^^ c
* H
f?

r T"
>m

i
*

[ (I
i c
?rr» H
i t 4
r
- l i • .'V
'

f^ -t

i'r' H i
1 ;4 r 1

i s § g fj&m

i !

«a* *
:« r
•I

-?J W -e-'"*'!)!

If
i

» '~
JJIlI
"'f~" i
»
i fLZ
1 ^2
ill S
^j ?**|
w
«£ I >/

3JH i '
4

LL3 ..
».»!».
-

^
*

a
"*y
 Kerfl

vollende.) hat seinen Namen von der Facettierung al.er Quadern,

Der Palazzo dei Diamanti (,«* begonnen. erst i 5 6 7
F,rr fl r,.
lebhaftes Spiel von Licht und Schatten ergibt.
die auf den Flachen ein
effect
name facade of faceted rustications, producing a lively
Ferrara. The Palazzo dei Diamanti (begun M9*. completed 1567) owes its to its
150
of light and shade.
 >\

Schallaburg, Niederosterreich. Karyatiden, wechselnd mannlich und weiblich.

als Gebalktrager im Hof der Burg (1572-1600).

Schallaburg, Lower Austria. Alternate caryatids

and telamones
in the castle courtyard (1572-1600).
 : ~ • t »

Das 16. Jh. war, zumal im Norden. ein Zeitalter hochster Bliite des Kunstgcwcrbes. Oben: Schlofi. Ambras bei Innsbruck.
Der Spamsche Saal (1571). L'nten: Velthurns, Sudtirol. Furstenzimmer im SchloB (1578—87) der Bischofe von Brixen.

The 16th century was, particularly in the north, the golden age of arts and crafts. Above: Ambras Castle near Innsbruck. The Spanish Room (1571
Below: VelfJiurns, 5. Tyrol. Cav -7), built for the bishop of Brixen The Princes' Chamber. 152

.,
 il lc^|f

'XJJVJU'I'
wx&mmt's r**^
if

*
*
ilfe^

^s

der Manierismus zu technischer

Vollert
Der Herzogin (1612). Reicher Intarsienschmuck, wie ihn
sog. Betst uhl der
Schlofi Gottorp, Schleswig. zur Uberladenheit, ausbildete.
wie kunstlerischer Vollendung, oft aber auch

technical and
inlaid-work. The Mannerists attained
of the duchess (1612) with its pro fusion of
Cottorp Castle, Schleswig. The so-called kneeling-desk often they only achieved floridity.
artistic perfection in marquetry but
153
 Sdimidt-G!ossne'
Miindicn. Der Gebaudekomplex der Residenz ist von 1569 bis ins 19. Jahrh. allmahlich gewachsen. Der Grottenhof (F. Sustris, 1581-86) folgt der
Gartenarchitektur Italiens. Grotesken 1588 von Ponzani.

Munich. The buildings of the Residence were slow in growth (from 1569 to the 19th century')- The courtyard of Grottos (F. Sustris, 1581-86) follows
the style of Italian garden architecture. Grotesques 1588 by Ponzani.ft 154
 \\ 2 -T* :

f pi
I T mA
\ I

If
jjjj ^^
J
»•
it
*
K Jf
i

1
i

ir -

J i iii'«1
!lwll l^j

Verwaltung der Staatl. Schlosser

155
B '
tf i.
•• • • •• v •

SL# fcI^B
,

j,,r

JL6U4 1 J^^^^» j
|

mm
"
"«

5? V »
*»l
s,

I M<
W. C,
.- I

to
Vitrei, Oldenburg. Vom
Hochaltar (L. Miinster-
mann, 1614) der Stadt-
kirche: Apostel Paulus
(Alabaster) in dcr Nische
cincr klassischen Saulcn-
ordnung aus zum Teil
bcmaltem Eichenholz.
Charakteristisch fiir den
Manierismus ist die

K Verbindung verschieden-
artiger Werkstoffe.

Varel, Oldenburg. The

apostle Paul from the
high altar (L. Miinster-
mann, 1614) of the Stadt-
kirche. This alabaster
statue stands in a niche
between classical columns
made of partly painted
oak. The combination
of different materials
is a characteristic
feature of Mannerism.
mi> uusfr
BusoS 156
k
^fiiifit.n
 •*
-
t#s

!'X

& i*-
-*4*%1

•
*«n

Y
I

•*

3.
1-1 I I i i
i?*i\

1
ii n

it'.

Busdi

Meisterleistungen des Manierismus gehort.

x Der SchloGkapelle gab
Budceburg. Graf Ernst (um 1605) erne Ausstattung aus Holz, die zu den
Die Meister waren Ebert d. J. sowie Jonas und Hans
Wolf.

b. the castle chapel, ordered by Count Ernest (around ,605) is among the
^e™ntsol
greatest
S Lover Saxony. The
Buckeburg, wood-carving
Mannerism. The master-craftsmen were Ebert Jr. and Jonas and Hans Wolf.
157
 jr
- - *.

>-v

••
•

>JK

T
V
f\

Is

„»»«'IHHH«
"^

»
*

?i
i
u
a
•rj*

V,
 w*~*%v
I* -*-*
- •/ ••• .

^"
« 1 1 '< i

-4'

M
•- *'

H> \%i
*.i*

V»i*
w
f«8L
5 >fj *_»

^HHiHHMM
-< Deutscher Kunstverlog >
Biickebiirg. SchloG, Prunktur im Goldenen Saal (1605).
Danzig. Rechtsstadtisches Rathaus. —
Auch hier pragt sich der manieristische „horror vacui" aus
Die Sommer-Ratsstube (urn 1595) zeigt die Freude des ausgehenden 16. Jh.
jenes Fullbestreben, das hochste und gedrangte Pracht entfaltet.
an iiberladener Ausschmiickung.
Biickeburg. Castle, ornamental door in the Golden Room (1605).
Danzig. Town hall. Sculptors of the late 16th century
Here too may be seen the Mannerist "horror vacui", that concern
gave free rein to their taste for florid ornamentation
with embellishing every possible surface in the most splendid manner.
in the Summer Council Chamber (c. 1595).

159
 Fofo Marburg

YAN
Die aus dem antiken „romischen System", der Kombination von Arkaden mit Saulen, entwickelte oberitalienische Spatrenaissance
hat ganz Europa durchdrungen. Links: Tomar, Portugal. Ein Kreuzgang des Christus-Konvents, der „Claustro de Joao III".
Oben: Koln, Vorhalle des Rathauses, 1569—73 von Wilhelm Vernuiken erbaut. (Im Bild Vorkriegszustand.)

The N. Italian Late Renaissance, a development of the classical "Roman System", the combination of arcades with pillars,
penetrated to the whole of Europe. Left: Tomar, Portugal. Cloisters in the Convent Christi, the "Claustro de Joao III".
161 Above: Cologne. Porch of the town hall, built 1569-75 by Wilhelm Vernuiken. (Pre-war photograph.)

^m
 I
J

Kersting

Die englischen Landsitze der elisabethanischen und der folgenden Zeit fiihren den spatgotischen Tudor-Stil fort, dem sich,
nach kontinentalem Vorbild. Renaissance-Motive (Bild oben) und manieristisches Zierwerk zugesellen. Oben: Audley End, Essex (B. Johnson. 1603—16).

The Tudor style still prevails in English country houses of the Elizabethan and early Jacobean age though Continental influences
M seen in the use of Renaissance motifs (above) and Manner* ornamentation. Above: Audley End, Essex (Bernard Johnson. 1603-16). 162

I
 Bradford-on-Avon,
Wiltshire.
The Hall (158°)'
auch Kingston House
genannt.

Bradford-on-Avon,
Wiltshire.
The Hall (1580),
also known as
Kingston House.

Reece Winstone

M IH11

Montacute House,
Somerset (1588-1601).
Westfront.

Montacute House,
Somerset (1588-1601).
West Front.

163 Reece Winstone

 u

Hatfield House, Hertfordshire (Robert Lyminge. 1608—12). Sudfront.

Vornehmlich von f ranzosischen Bauten (Ph. Dclorme) beeinfiuSt das Triumphtor-Motiv mit gekuppelten Saulen.

:ld House, Hertfordshire (Robert Lyminge, 1608— 12) bears a resemblance to French buildings
of the Philibert Delorme school. Note the triumphal gate motif with^al pillars. 164
 I

mm
II

Kersling
Oxford. Bodleian-Bibliothek. Die Saulen am „Turm der fiinf Ordnungen"
(Thomas Holt, 1625) folgen einandei
Spatgotische Fenster. Zinnen und Fialen.
nach den in zeitgenossischen Baukunst-Lehrbiichern festgelegten Prinzipien.
Holt, 1625) are arranged according
O-ford. The Bodleian Library. The pillars on the "Tower of the Five Orders" (Thomas
period. Mullioned windows, pinnacles and
canopied niches.
165 to the principles laid down in the architectural manuals of the
 1

ve'S'ing

* ,fc i
i
>

-
,
 .^

< Si
^! *<

Links oben: Kirby Hall,

Northamptonshire. Seit 1570
von Thomas Thorpe erbaut.
Links unten: London.
Middle Temple Hall,
Eingangsschranke (1562—72).
Ein Beispiel fur das
reiche Schmuckwerk
des Manierismus
audi in der Innenausstattung.

Left, above: Kirby Hall,

Northamptonshire,
built by Thomas Thorpe
post 1570.
London.
Left, below:
Middle Temple Hall:
the Screen (1562—72),
in a richly ornamented
Mannerist style ^HMWll
Rechts: Cobham Hall, Kent.
•**mmn» NjMUk'vS

Vorhalle (1594)
des Westfliigels
der Siidfront,
von Giles de Whitt
nach einem Entwurf
von Delorme.

Right: Cobham Hall, Kent. •

Porch Quadrangle
in the /
(1594), by Giles de Whitt
to Philibert Delorme's
/
! /> '»
design.

167 Kersting
 u

If.

terg

Kers'ng

Bremen. Der Schilling (1536—38), als Amtshau'. der Kauflcute erbaut. Rechte Seite, oben: Audley End, Essex (1603—16, s. Abb. 162). Von Siidosten
Balustrade uber dcm Hauptgesims von 1594, Unten: Hardwick Hall, Derbyshire (wohl von Robert Smythson, 1590—97).
Portal spater hinzugefiigt. Mit der gedrangten Fulle hoher Fenster und dem Dachzierat
Mameristisch die hohen Fenster mit spatgotischcn Kielbogen. ein Hauptbeispiel des englischen Manierismus.

Bremen. The Schiitting (1536—38), Right-hand page, above: Audley End, Essex (1603-16; cf. p. 162), from the S. E.
built as the merchants' guild hall. Below: Hardwick Hall, Derbyshire (probably the work of Robert Smythson,
Balustrade above the main entablature dates from 1594, 1590-97), a major example of the English Mannerist school with its profusion
portal added later. of high windows and ornamented roof.
 . 1

inn
gas
illkL ^

mi
mil!!
niffl
in hi
HI
if
IIII9II Si
.

,
limn
.

infill
is
—^|B|

li
Rl

IIIIMI
] I
\U

*— **i£t£.
1 nrrrn
II 1 J E!|

V7 #>

umm
r.»B:

1 1
1

.\
Kr~im iiiii ma. IIHII.II II It. Ill
'

•mil uuu^>^
'1 i

III

II
T*

fir JTglT * ^
HI jll \

-wwr~ww\
III
I I f I I

I
III
I

I1
tit
n i i IMn^tr^
 J

Hamcln a. d. W'eser.
Das ..Rattenfangerhaus"
(1602). Ein besonderes
Merkmal der sog.
Weser- Renaissance,
die niederlandischen
wie deutschen
Baumeistern ihre Gestalt
verdankt,
sind durchlaufende
Querbander, oft mit
eingcchnittener
Musterung.

Hamlin on the Weser.

The "Pied Piper's House"
(1602). Crossbands,
often with patterned
carving, are a
special feature of the
so-called Weser
Renaissance, the product
of both Dutch and
German architects.

E.ers 170
 1

Roubier

Buntfarbigkeit,
Haarlem, Holland. Die Fleischerhalle (t. de Key, 1602-05). Wie iiberall im Kiistengebiet Nordeuropas:
erzielt durch Vervvendung verschiedener
Steinarten.

Haarlem, Holland. The Butchers' Guild Hall (L. de Key, 1602-03). As is usual everywhere in the coastal areas of N Europe
a colourful effect is achieved by the use of different kinds of stone.
171
 Gundermonn
Aschaffenburg. SchloB (Ridinger, 1605-14). Rechte Seite, oben: Escorial, Spanien. Zugleich Kloster und SchloS fiir Philipp II.,

Die regelmaRige Vierflugelanlage mit starken Ecktiirmcn von luan de Herrera 1550—84 erbaut. Unten: Kalmar, Schwcdcn.
gtht auf d.is rnmischc tantrum zuriick. SchloG, 2. Halfte 16. Jh. Starkes WasserschloG;
Ciebel noch manieristisch, Wande bereits wieder groGflachig. karge /twcikformen bis auf die manicristischen Giebel und Turmhelme.

Aschaffenburg. Castle (Ridinger, 1605-14). Right-hand page, above: Escorial, Spain.

The regular four-winged plan with heavy corner towers The huge monastery built for PhilipII by Juan de Herrera (1559—84).

owes much to the Roman "Castrum". Gables still Mannerist, Below: Kalmar, Sweden. Castle, latter half of 16th century.
walls already plain and generously proportioned. Timeless utilitarian structure, sparsely ornamented.
 iaflflf! ^p-nf* ' • ^^fc UXtim.
fcTTr
fc" |^^H
i

t?

: ?- :
 rass

SSL

IS
W
is
ii
ii
lit
II
II
I
I *
!B
Ml
J-H

te i'}!}})}) ftitmti

Cash

YAN
Escorial. Siidfront. Mit groGen, gleichformigen Flhchen Greenwich. "Queen's House" (Inigo Jones, 1616—35). In England begriindet Jones
lost dieses Bauwerk den iiberreich in bewufiter Anlehnung an italienische Vorbilder
dekorierenden spanischen Manierismus ab. einen akademisch strengen Klassizismus. Die Zeit des Manierismus ist zu Ende.

Escorial. South Front. This structure with its vast, Greenwich. The Queen's House (Inigo Jones, 1616—35).
uniform surfaces shows a departure from the In conscious imitation of Italian prototypes, Jones founded a
lavishly ornate Spanish Mannerism. strictly academic classicism in England. The age of Mannerism is at an end.

175
 1

YAN
Lissabon. Sao Vicente da Fora (Filippo Terzi, 1582—1627). Die nach dcm Vorbild von II Gesii errichtete Fassade
ztigt den wieder groBformig stillen Stil, der in Europa um die Wende zum 17. Jh. den Barock einleitet.
Lisbon. Sao Vicente da Fora (Filippo Terzi, 15S2-1627). The facade, an imitation of that of II Gesu,
reflects the style prevalent in Europe at the turn of the 17th centuryvfeeralding Baroque. 176
 -Br''

igri%Z

MAS Entwurf fur St. Peter in Rom.

Escorial Die Kirche (1585) des Klosters, in An'.ehnung an Bramantes
Stiller Ernst der Jahrhundertwende.

monastery, inspired by Bramante's plan for St. Peter's, Rome.

Escorial. The church (15S5) of the
Silent gravity of the turn of the century.
177
II

'

s^.

Augsburg.
Der ..Goldene Saal"
des Rathauses
(Elias Holl, 1615-20).
Eine der groSten
KU
und reichsten Schopfungen
des Profanbaus
—
der Renaissancezeit
Wende vom
auf der
Manierismus zum Barock.
(Vorkriegszustand.)

Augsburg.
The "Golden Hall"
of the town hall
(Elias Holl, 1615-20).
one of the greatest
and richest creations
among secular buildings
of the Renaissance period —
at the turning point
between Mannerism
and Baroque.
(Pre-war state.)

I
 : '

/^*- /J /

£•

Hf
' ~'-'ili '/:<
\>,<&

A,.
^ ,«L

.... / / ,

\ >'-K

1 -^ 1
—-^^ ^^- ^_
\-~*
—„^ 1
1

i
*'

Bi %** S rI
I 11 W
i

'

Wr

Ate.
 <ee*-"3H

Augsburg. Die Rudcseite des Rathauses (Elias Holl. 1615-20). in Deutsthland das edelste Bei'piel
f jr jenen nudlternen und gro3formigen SHI. der den Fruhbarotk herauffuhrt.

1 Augsburg. Rear of the town hall . 1615-20), the finest eBmple in Germany of that sober yet gener vhich heralded Early B2 180
r
*'C
AM
I
r