It’s come to my attention that there is not a strong grasp of what Renaissance architecture really is, judging by all the flippant labeling of many buildings around America as “Renaissance Revival.” So what exactly is Renaissance architecture in the context of Italian history (note there is also French, German, etc. variants, as well)? Let’s take a look at some of the major monuments, most of which I’ve seen and studied over the decades in person.

It’s also important to realize the Italian Renaissance is divided up into at least three major parts: the Early, the High and Late. We’ll look at the Early Renaissance first, primarily in Florence. We will focus on two major architects, Leon Battista Alberti and Filippo Brunelleschi. We’ve looked at one of Brunelleschi’s works before, which is the dome of Florence Cathedral, back in February of 2010. But that was the end result of years of study by Brunelleschi in Rome, in particular of Roman ruins and intact buildings such as the Pantheon, which still claims the title of having the largest unreinforced concrete dome in the world. The Renaissance is not the copying of the ancient world, but rather the adapting of ancient models with new inventions and technology for modern needs; the dome of Florence exemplifies that. Meanwhile, Brunelleschi’s colleague Leon Battista Alberti was working on artistic theory and also architecture across town.

Alberti’s design for the front facade of the Benedictine church of Santa Maria Novella offers a classical response to the anti-classic Gothic style, concealing the nave and aisles behind two Roman temple pediments, one surmounting the other. Likewise, the Greek love of geometry has rubbed off on Alberti, and all dimensions are based off a circle and square around the large window, with every other measurement a half, quarter or eighth of the original. It thus balances harmoniously as a whole.

Across town, at the Ospedale degli Innocenti, Brunelleschi then devises a new design based off classical orders of architecture with a colonnade topped with a row of windows with temple-pediment windows. Roundels, with small babies in rich glazed terracotta, set the standard for civil buildings in Renaissance Italy, and eventually inspire Soulard Market in St. Louis.

Across the city at the Franciscan church of Santa Croce (to keep them out of conflict with the Benedictines), the Pazzi Chapel, which generally we believe to be by Brunelleschi, as well, further shows how geometry and mathematics plays a role in the design of Renaissance architecture. Everything is broken down into logical squares, circles or triangles based off a single unifying unit and its fractions. Note the use of classical pediments and column orders.

Inside, we see a dome, but instead of it being placed on a drum like the Pantheon, it is placed on four pendentives, like most Italian Medieval domes. The Four Evangelists grace roundels in the pendentives.

Palazzo architecture also take great strides, particularly in the residence of the Medici, designed by Michelozzo. Embellished with rusticated stone, the building becomes more graceful, the stonework more refined as the eye moves upward.

This was partially practical, as Italian civic politics could be violent, but it also linked the architecture with the ruins of the Roman forum. The main floor is what Americans call the second floor, or piano nobile, in Italian. Louis Sullivan was influenced by the tripartite breakdown of the facade of Italian palazzi.

A huge, hulking cornice, inspired by the Romans, capped the palazzo.

Huge portals at the bottom are filled with temple pediment-like windows.

Tomorrow we’ll look at how the Renaissance moves to Rome.