Development of the Renaissance Centralized Church Plan
Topic: Analyze the development of the centralized church plan in Renaissance architecture (15th and 16th centuries). In your examples, include an analysis of meaning and symbolism.
During the Renaissance period, new centralized church plans developed as a result of a more scientific approach to nature. The idea of precise proportions and measurement emerged through Vitruvius’ theory regarding human anatomy. Vitruvius described how human body, with extended arms and legs, fits perfectly into the most basic geometrical shapes: circle and square. This concept triggered the minds of artists during the Renaissance to take on a new approach for church plans (Honour and Fleming 444-445). However, it is not until the fifteenth century that the centralized plan was regarded as a divine expression when Alberti discussed scientific method of maintaining God’s image through mathematical approach in De Re Aedificatoria, a treatise containing the first full program of the ideal Renaissance church (Tavernor 30). From Alberti’s perspective, a centralized plan should reveal God’s symbol while keeping pure forms of absolute mathematics in the structure, therefore the Greek-Cross figure is favored (Heydenreich 36). His theory influenced many others to realize the importance of the Greek-Cross planning method, and this is reflected in works such as S. Sebastiano, Maria Della Carceri and St. Peter’s. Thus, the Greek-Cross centralized church plan was developed, that became the divine figure for Renaissance architecture.
The development of Greek-Cross plan is derived from Alberti’s theoretical demands based on Vitruvius’ basic principles of accuracy and proportions. In the early sixteenth century, Vitruvius began answering questions regarding how a buildings proportion is constructed through human anatomy (Wittkower 22). Such question is further raised through Vitruvian figures drawn within a square and circle became a symbol of the mathematical relationship
During the Renaissance period, new centralized church plans developed as a result of a more scientific approach to nature. The idea of precise proportions and measurement emerged through Vitruvius’ theory regarding human anatomy. Vitruvius described how human body, with extended arms and legs, fits perfectly into the most basic geometrical shapes: circle and square. This concept triggered the minds of artists during the Renaissance to take on a new approach for church plans (Honour and Fleming 444-445). However, it is not until the fifteenth century that the centralized plan was regarded as a divine expression when Alberti discussed scientific method of maintaining God’s image through mathematical approach in De Re Aedificatoria, a treatise containing the first full program of the ideal Renaissance church (Tavernor 30). From Alberti’s perspective, a centralized plan should reveal God’s symbol while keeping pure forms of absolute mathematics in the structure, therefore the Greek-Cross figure is favored (Heydenreich 36). His theory influenced many others to realize the importance of the Greek-Cross planning method, and this is reflected in works such as S. Sebastiano, Maria Della Carceri and St. Peter’s. Thus, the Greek-Cross centralized church plan was developed, that became the divine figure for Renaissance architecture.
The development of Greek-Cross plan is derived from Alberti’s theoretical demands based on Vitruvius’ basic principles of accuracy and proportions. In the early sixteenth century, Vitruvius began answering questions regarding how a buildings proportion is constructed through human anatomy (Wittkower 22). Such question is further raised through Vitruvian figures drawn within a square and circle became a symbol of the mathematical relationship
Citations: Heydenreich, L. Architecture in Italy, 1400-1500. rev. ed., New Haven, 1996. Honour and Fleming, The Visual Arts: a History, 4th ed, 1995, 444-445. http://www.phs.poteau.k12.ok.us/williame/APAH/readings/Bramante 's%20Tempietto,%20St%20Peters,%20Michelangelo.pdf Tavernor, R. On Alberti and the Art of Building. New Haven, 1998.