Tempietto
HOW HAVE MATERIALS AND TECHNIQUES AFFECTED THE VISUAL APPAERANCE OF A BUILDING?
Despite the small scale in Bramente’s Tempietto has been constructed in such a way that it has all the rigorous proportions and symmetry of Classical structures, surrounded by slender Doric columns, surmounted by a dome. Artistically, the small chapel is regarded as one of the first and finest examples of architecture of the High Renaissance because of characteristics such as simplicity, harmony, symmetry and classical antiquity found throughout the structure.
The exterior of the Tempietto is surrounded by an evenly-spaced colonnade of sixteen slender Doric columns which surround a small cella. The small chapel has two stories; the first storey in the centre of the colonnade (the cella) and the second storey directly above the first which is surrounded by a circular balcony. Niches are cut along the outside walls of the second storey which helps emphasize the solidity and strength of the whole structure because they provide a play of light and shadow on the walls. The Tempietto can be considered to be an imposing monument because it presents the effect of alienation; it is elevated on a three-shallow stepped plinth and separated by a small distance from the surrounding environment.
What is fascinating is how the temple blurs the line between architecture and sculpture. Belonging more to the latter ironically makes it perhaps the most ‘pure’ example of the former, for Renaissance architecture at least. Very few other buildings embody the Renaissance’s ideal proportions in architecture with more grace. The tempietto’s ground plan is based on the most important shape in High Renaissance architecture – the circle, which symbolised divine order, and the most perfect chapel of this shape was the Tempietto. The circle used in ground plans, and it is also reflected in another characteristic feature for Renaissance churches, in this case – the dome on the roof.
The Tempietto is thought
Despite the small scale in Bramente’s Tempietto has been constructed in such a way that it has all the rigorous proportions and symmetry of Classical structures, surrounded by slender Doric columns, surmounted by a dome. Artistically, the small chapel is regarded as one of the first and finest examples of architecture of the High Renaissance because of characteristics such as simplicity, harmony, symmetry and classical antiquity found throughout the structure.
The exterior of the Tempietto is surrounded by an evenly-spaced colonnade of sixteen slender Doric columns which surround a small cella. The small chapel has two stories; the first storey in the centre of the colonnade (the cella) and the second storey directly above the first which is surrounded by a circular balcony. Niches are cut along the outside walls of the second storey which helps emphasize the solidity and strength of the whole structure because they provide a play of light and shadow on the walls. The Tempietto can be considered to be an imposing monument because it presents the effect of alienation; it is elevated on a three-shallow stepped plinth and separated by a small distance from the surrounding environment.
What is fascinating is how the temple blurs the line between architecture and sculpture. Belonging more to the latter ironically makes it perhaps the most ‘pure’ example of the former, for Renaissance architecture at least. Very few other buildings embody the Renaissance’s ideal proportions in architecture with more grace. The tempietto’s ground plan is based on the most important shape in High Renaissance architecture – the circle, which symbolised divine order, and the most perfect chapel of this shape was the Tempietto. The circle used in ground plans, and it is also reflected in another characteristic feature for Renaissance churches, in this case – the dome on the roof.
The Tempietto is thought