Simple explanation of History of architecture ll ( early Christianity , Byzantine Architecture, Islamic, Romanesque,Gothic, Renaissance, Baroque and Rococo ). Done by : AUM students .

1. Done by :
*Rayan Mohannad
*Sara Alhamawi
*Rand Kildani
*Jehan Diab
*Reem Alhammad
*Dalal Aldajani
History Of Architecture ll
Supervisor : Dr. Yasir sakr
AUM

2. TABLE OF CONTENTS
EARLY christianty Byzantium ISLAMIC architecture
1-325 AD
1st -4th century
01
300–1453AD
4th -13th century
02
610 AD
7th century
03
6TH -11TH century
ROMANISQUE
04
1150-1450 AD
12th Century and the 16th Century.
GOTHIC
05

3. TABLE OF CONTENTS
Renaissance
1400-1600AD
(15-17th century )
06
BAROQUE
07
ROCOCO
08
1600-1750
17th 18th century
18th century
1730 AD

4. EARLY Christianity
01

5. The Christian church originated
in Roman Judea in the first
century AD .

6. The spread of Christianity
Christian churches appeared first in the major cities of the empire and
spread gradually into the countryside

7. • Roman temples
served as
treasuries and
dwellings for the
cult.
• sacrifices occurred
on the outdoor of
the temple.

8. SOLOMON’S TEMPLE ( THE FIRST TEMPLE)
The temple located on the Temple Mount in the Old
City of Jerusalem, the current site of the Dome
of the Rock and Al-Aqsa Mosque.

9. EARLY
CHRISTIANITY
ARCHITYPES :-
• CATACOMS AND CAVES
• HOUSE CHURCHES
• BASILICAS
• MAUSOLEUM
• Egyptian temples and
Jewish temple

10. • The church found under of Saint George
Church in Rihab is the first in all of the
Christian world. Its construction can be
dated to between 33 and 70 A.D.
RIHAB CHURCH ,
(33-70 AD ),JORDAN:

11. PLAN
AND
SITE OF
RIHAB
CHURCH

12. • Christianity was
abandoned in Rome, so
Christians used to hide,
pray and meet in private
homes and catacombs
catacombs

13. ATACOMBS :
• They are burial places which located outside
the roman empire.
• Used as memorial services and celebration,
and for worship.

15. Early Christians used to paint on
tombs representing the main
events in both old and new
testament.
Rome catacombs of St..Marcellinus and
peter – Jonah is vomited out
Rome catacombs of St. Marcellinus
and peter- Noah in the ark

16. USE CHURCHES :
House churches usually have different
ooms that have functions with
different rituals
The oldest house church, 3rd century,
ocated at Dura-Europos on Euphrates
iver in east roman Syria.

17. PLAN
• House church included baptistery
room, a courtyard, and worship
rooms.

18. • Confession of Christianity as a religion 313 AD by
Constantine which lead to Early Christian art and
architecture and existence of church architecture
• Commonly known as Constantine
I, Constantine the Great, or Saint
Constantine , was Roman Emperor from
306 to 337. Well known for being the first
Roman emperor to convert to Christianity

19. BASILICAS :
• Rectangular building
• Linear rows of columns creating an aisle on
each of longer sides.
• Focal point :- altar and apse.

22. Tabernacle temple Longitudinal church
Egyptian temple
Public area
Semi-public area
Private area

23. • Roman temple architecture is an
exterior architecture, while Christian
architecture put more emphasis on
the interior.
• Constantine wanted a
church architecture that has
a meaning in Rome.
Nova basilica
Rome 312 AD
The old roman
temple

24. • After Constantine defeated
Maxentius, he took over
the construction of Basilica
of Maxentius (Basilica
Nova) and converted it into
a church.
• This led to use a
category of Roman
buildings, known as
The Basilica
ENTRANCE
CONSTANTINE’S
SCULPTURE
CONSTANTINE’S
SCULPTURE
NAVE
AISLE
ALTAR
AND
APSE
THE CHURCH PARTS
BASILICA NOVA PARTS ( BEFORE CONVERTING IT TO A CHURCH)

25. Most important churches in early
Christianity
Church of nativity Old St. Peter‘s
Basilica
330 A.D
Rome
Church of the
Holy Sepulchre
335 AD
Jerusalem
325A.D
Bethlehem

26. CHURCH OF
NATIVITY :-
• The original Church of
the Nativity in 325 A.D.
• Bethlehem
• the oldest continuously used
site as a place of worship in
Christianity, and the church is
the oldest major church in the
Holy Land

28. CHURCH OF THE
HOLY
SEPULCHRE:
• It is a church in the Christian
Quarter of the Old City of
Jerusalem. The site where Jesus
was crucified
• originally included an open air
circular enclosure that
encompassed the supposed
burial site of Jesus Christ

29. PLAN OF THE CHURCH OF HOLY
SEPULCHRE

30. OLD ST. PETER
BASILICA:
330 AD
• 330 A.D /4th century
• Vatican city, Rome
• It is believed to have built on
the site of the burial of St peter
( the first bishop in Rome ).

32. MAUSOLEUM
• It was a square or circular
domed structure which housed
a sarcophagus.
• It is a form of a tomb.

33. CHARACTERISTICS:
• The structure of this
building is two rings
supported by columns
• Two spaces, the
ambulatory, and the
shallow dome
• Contrast of light between
the clerestory and the
ambulatory

34. SANTA COSTANZA (350 AD ), ROME
The emperor Constantine built for his daughter
Costanza a mausoleum which had a circular
central space surrounded by a lower
ambulatory or passageway separated by
colonnade.

35. Byzantium architecture
02

36. Byzantine
Architecture
started in the
Eastern Roman
Empire

37. Introduction
330 AD: Constantine found the new capital of the Roman Empire on
the existing Greek city Byzantium; which was renamed as
Constantinople (Istanbul).
395: The Roman Empire divides in half, with the Eastern Roman
Empire based in Constantinople and the Western Roman
Empire based in Rome/Ravenna
527-565: Justinian’s reign begins. Byzantine architecture flourished
under his rule
1453: Fall of Constantinople to the Ottomans. End of the Byzantine
Empire.

38. Characteristics
was
mostly influenced by
Roman and
Greek architecture
• The use of pendentives and domes.
• The walls were decorated with mosaics, marble, gold leaf, and
frescoes.
• Bricks and stones were usually used in the construction of the
building.
• Greek and Roman elements in their architecture.
• Focus on lighting indoors.
• The use of centralized church plan.

39. Types of churches
Centralized plan church:
● In ancient Rome circular structures
were used for tombs and temples.
● They were used as mausoleums.
● It was mainly used in the Western
churches.
● Greek cross plan.
● Example: San Vitale.
Basilica plan church:
• Central nave with aisles on the
side.
• Latin cross plan.
• It was mainly used in the Eastern
churches.
• Example: Old St. Peter’s church

40. Centralized churches

41. Hagia Irene/ Saint
Irene Church / Istanbul
turkey - 337
The first church completed in
Constantinople, before Hagia
Sophia.
It was completed by the end of
Roman emperor Constantine reign
(337).
Materials: Brick, concrete
It was burned down and emperor
Justinian had it rebuilt in 548.

42. Hagia Irene/ Saint Irene
Church / Istanbul turkey - 337
Interior was decorated with mosaics, and
frescoes.
Covered by 2 domes and used vaults.

43. Centralized churches
Hagia Irene/ Saint Irene Church
/ Istanbul turkey - 337

44. Church at Qal’at
Sima’an / north Syria
(480-490)
in north Syria (480-490) – One of the
largest churches in Christendom, the
Church of Saint Simeon stands in
partial ruins in the countryside of
Aleppo. The church was built in the
late 5th century AD by Emperor Zeno.
it was built after the main church.

45. Church at Qal’at Sima’an / north
Syria (480-490)
in north Syria (480-490) – One of
the largest churches in
Christendom, the Church of Saint
Simeon stands in partial ruins in
the countryside of Aleppo. The
church was built in the late 5th
century AD by Emperor Zeno.
it was built after the main church.

46. Church at Qal’at
Sima’an / north Syria
(480-490)
the east basilica is slightly
larger than the other it was the
most important and held all the
major ceremonies

47. Church at Qal’at Sima’an
/ north Syria (480-490)
it was designed in a
cruciform made up of four
distinct basilica complex.

48. The octagonal drum which externally tops The square
base of The building was once crowded by wooden
roof shaped either like a cone or a dome
Church at Qal’at
Sima’an / north
Syria (480-490)

49. Basilica of San Vitale
Ravenna, Italy - 521/32
• It is located in northwestern
Ravenna, Italy.
• Work on the church began
under Bishop Ecclesius
(521-532) after returning
from Constantinople and
was financed by a Greek
speaker from the east
named Julianus Argentarius.
• The design and decoration
of San Vitale was directly
influenced by the latest
trends in Constantinople.
• It is extensively decorated
with marble and mosaics.
• Central plan

50. San Vitale is a
centrally
organized church
The focus is on
the center .
aisles surround
the central space.
The form of this
building is two
octagons, and the
smaller one rises
higher.
Basilica of
San Vitale
Ravenna,
Italy - 521/32

51. The exterior of the church is brick, those bricks were taken
from ancient Roman buildings and reused in this church in
the 6th century.

52. The walls are
pierced in a lot of
windows.
Interior space is
covered with mosaic
that survived from
the early medieval
period.
Basilica of San Vitale Ravenna, Italy - 521/32

53. Hagia Sophia or the church of
the holy wisdom, was built
in 532 A.D by Emperor
Justinian in
Constantinople (Istanbul).
Architects: Isidore and
Authemius.
It solved the problem of
covering a huge square
space with a dome by
using pendentives.
Hagia Sophia /
Istanbul turkey 532 -
537

54. It is covered by a central
dome, slightly smaller than the
Pantheon.
It was converted to a mosque
after the Byzantine Empire fell
by the Ottomans.
Hagia sophia combination
between centralized and
longitudinal.
Hagia Sophia /
Istanbul turkey 532 -
537

55. Pillars
To support the
arches

56. Pendentives in Hagia Sophia
(circular dome over a square base)
The two half
domes support
the central big
dome

57. Pendentive
A curved triangle of vaulting formed by the
intersection of a dome with its supporting arches.

58. Islamic architecture
03

59. ISLAM begun in
Arabia in 610 AD
The most
important
building in Islam
is the mosque .
A mosque is a
place of worship
for Muslims

60. Indicating the qibla (kible), the
direction in which a Muslim shall
perform his (salat).
Most of the mosques width is
longer than its length
To let as much worshipers as
possible pray in the first line
since its very important in Islam.
Female prayers area separated
from the men's prayers area .
60
Mosque charact eristics

61. The first built
mosque was
Quba mosque in
Almadena
Almunawara
Was built Right after prophet
Mohammed arrived to
Madina .

62. Prophet Muhammad house  Located in Yathrib (
Medina in Saudi Arabia
today ).
• 622AD
A simple rectangular plan.
• Made out from mud-
brick structure.
• Opened on an enclosed
courtyard where people
gathered for praying
and learning .

63. Prophet's Mosque
At the beginning
the mosque
was built from
stones that was
collected from
the area and it
was built
without a roof /
ceiling

64. courtyard
Mosque elements
Minaret
Minbar
Mihrab
Dikka
Kursi
Courtyard

65. Arabesque or Hypostyle
• Practiced in western parts of the
Islamic world.
• Made of large and empty central
courtyard and a low covered sanctuary
with colonnades on at least three
sides.
• The yard was usually oriented toward
the main columned hall where Mihrab
was; hinting the direction of the place
toward Qibla where Muslims face
when they say prayers together.

66. The Great Mosque of
Damascus located in
the old city of
Damascus
The Umayyad Mosque
• It is also known as the great mosque of
Damascus.
• Located in the old city of Damascus.
• The mosque was built on the site of a
Christian basilica dedicated to John the
Baptist ( Yahya ) , honored as a prophet
by Christians and Muslims.
• The building contains the head of John
the Baptist.
• The mosque is defined
into a three halls, that run
parallel to the qibla wall.
• They are supported by
two rows of stone
Corinthian columns

67. Transformation
from a basilica to
a mosque
*Notice the changing of
the entrance and the
praying rotation to
make it face the
(qibla )
* and even changing
the space of the
worship from long isles
to wide ones .
https://islamicarchitec
turebydxx.blogspot.c
om/2015/08/building-
analysis-umayyad-
mosque.html

68. Dome of
the rock
691-92
*Located on the timple mount in
Jerusalem .
*Outside appearance has been
significantly changed in the
Ottoman and modern
period, especially with
the addition of the gold-
plated roof.
We will see later how the
knights Templar was influenced
from the dome of the rock
And they delivered this to
Europe

69. Church of the Seat of Mary Plan Dome of the rock plan
*The octagonal plan of the structure may
have been influenced by the Byzantine
Church of the Seat of Mary.

70. • The structure is basically octagonal. It is capped at its
center by a dome, approximately 20 m (66 ft) in diameter,
Dome of the rock

71. Romanesque
04

72. 1000-1200 A.D.
Western Europe

73. Feudalism
The Romanesque period saw
the introduction of the system
of feudal tenure , or holding of
the land on condition of
military service.

74. The crusades
1095-1270
The Crusades were a
series of religious wars initiated,
supported, and sometimes
directed by the Latin Church
in the medieval period.
* This affected the building types
and designs .

76. Climate and materials
76

77. The building material differs greatly
across Europe, depending on the
local stone and building traditions .
In Italy , Poland , much of Germany
and parts of the Netherlands ,brick is
generally used.
Other areas saw extensive use of
limestone ,granite and flint .
Sant Ambrogio , Milan is
constructed of brickes
1099AD
San Vittore alle chiuse ,Ginga
Italy has a typical fortress –like
appearance
1011AD

78. Square towers
and round
arches
Santa maria ,cosmedin
With bell tower
Round arches at the
façade of cathedral of
Lisbon

79. 79
Romanesque arches

80. 80
Main features in Romanesque were
Massive quality, thick walls, round arches , sturdy piers , groin vaults ,
large towers, and symmetrical plans .

81. Romanesque
church portal
(Entrance )

82. Romanesque vaulting

83. Romanesque style,
rose window
83

84. Churches Castles Monasteries Fortified Towns
BUILDING TYPES

85. North Romanesque
•Enlarged Window Openings
•High Pitched Roofs
•Use of bricks
Sant Ambrogio Milan
1099 AD

86. South Romanesque
•Small Window Openings
•Flat Roofs
•Use of stone
Se Cathedral, Lisbon
Portugal
1147 AD

87. Church of the Holy Sepulchre
Church of the Holy
Sepulchre
old city of jerusalem

88. Church of the
Holy Sepulchre
crusaders church
11th -12th century
old city of Jerusalem

89. Church of the Holy Sepulchre
Church of the
Holy Sepulchre
crusaders church
11th -12th century
crusaders church
12th century
constantines church
325-335 AD

90. Pisa cathedral
1063-92
Central Italy

91. Pisa cathedral
1063-92
Central Italy

92. Pisa cathedral
1063-92
Central Italy

93. Cattedrale di Monreale
SOUTHERN ITALY
1267 AD

94. Cattedrale di Monreale
SOUTHERN ITALY
1267 AD

95. CASTLS
Started as a defence
structures

96. AlKarak Castle
1142 AD
Alkarak –Jordan

97. AlKarak Castle
1142 AD
Alkarak –Jordan

98. Monastaries
Monastaries were often
sited just outside the city
gates and provided work
,medical care , education ,
and hotels for travelers .

99. Monastaries
Abbaye Saint-Martin-
du-Canigou
1001-26
France

100. Monastaries
Abbaye Saint-Martin-
du-Canigou
1001-26
France

101. Fortified towns
A defensive wall is a
fortification used to defend
a city or settlement from
potential aggressors .

102. Monteriggioni
13th century
Tuscany- Italy

103. Monteriggioni
13th century
Tuscany- Italy

104. Monteriggioni
13th century
Tuscany- Italy

105. Monteriggioni
13th century
Tuscany- Italy

107. gothic
05

108. 108
Gothic
architecture
● Early Gothic (1150-1250)
● High Gothic (1250-1375)
● International Gothic (1375-1450)

109. • The
Goths are
East
Germanic
tribes
that
came
from
Sweden

110. GOTHIC CHARACTERISTICS
focus on columns more than walls
 Pointed Arch.
 Large Expanses Of
Glass
 Colored Glass
 Clustered Columns
 Sharply Pointed
Spires
 Intricate Sculptures
 Ribbed Vaults
 Flying Buttresses.
 Gargoyles

111. • Quadripartite vault
( 4 parts)
• Articulated columns in
interior.
• Rib vaults travels from
the ceiling down to
floor.
• Larger window spaces,
choirs, and chevets.
• Compound piers were
common.
Comparison

112. Early Gothic architecture ( 1150 – 1200)
• Focus on the structural
system and its
development in that
period.
• higher and lighter in
appearance than the
Romanesque style but
they are not as heavily
decorated as the later
Gothic periods.
ST. DENIS CATHEDRAL (1135-1140 AD)

113. • Suger decided to open
up the chapels instead
of keeping them closed
• And replaced the thick
walls, which was
pierced with small
windows with a stained
glass
Bringing the light to the church

114. Notre Dame De Chartres, France, 1145 CE
This church is an
important destination
because it has the
tunic that the Virgin
Mary wore in the
nativity of the Christ

115. The ribbed
vaulting , flying
buttress, and
pointed (Gothic)
arch were used
as solutions to
the problem of
building a very
tall structure
while preserving
as much natural
light as possible.

117. Stained glass window Statues of the apostles of Christ and the saints
Because people were illiterate they used some methods to tell
stories through statues and stained glass

124. Late Gothic architecture (1300 – 1550).
• lighten structure and add
decoration was taken to
extremes.
• An increase in the number
of nerves
• More sculpture on
façade/ highly decorated.
Milan Cathedral-1386

125. Cologne Cathedral (1248-1880)-Germany
• It is the largest Gothic church in Northern
Europe.
• It stands on the site of a 4th century
Roman temple, followed by another
church which was completed in 818 then
got burned down on 1248.
• Construction on the cathedral began in
1248, halted in 1473, and was completed
in 1880.

127. (flame like pointed
tracery attached on
every surface)

129. Renaissance
06

130. Humanism
Humanism is a philosophy that
started in the Renaissance,
And it states that humans are
of central importance.
Architecture in the Middle Ages
was strongly influenced by
religion and the concept of
creating “God’s Home” or a
space to get closer to god
and that was represented
through churches.
Humanism led to the church
loosing its influence,
therefore people’s mind
changed in the sense that
God is important but we
shouldn’t let Religion take
over everything.
That made science and
technology the main focus,
and they were applied to art
and architecture as well.

131. Medieval Art Renaissance Art
Materials used Frescos, Mosaics,
Painting on wood
Oil on canvas, Marble
sculptures
Colors Dark:
Brown, gray, gold, muted
colors
Bright:
Red, blue
Body positioning Unnatural, stiff Natural (movement)
Emotions Blank faces, difficult to
read
Clear and evident
emotions
Dimension Flat, few shadows Perspective (vanishing
points), use of shading
Comparison between Renaissance Art and Medieval Art

132. Medieval Art Renaissance Art
Madonna and Child by
Berlinghiero
(around 1230s)
Madonna and Child by
Giovanni Bellini
(1509)

133. Renaissance architecture started in
Florence, Italy and spread to Europe.

134. Characteristics
• Classical simplicity and harmony.
• References to Greek and Roman
architecture.
• Central plan.
• Balanced compositions.
• Symmetry and proportion.

135. Early Renaissance
Brunelleschi, Alberti
(1400-1500)

136. ● He is the first modern engineer, planner, and sole construction
supervisor.
● He is most famous for designing the dome of the Florence
Cathedral.
● He contributed to the development of the mathematical
technique of linear perspective in art.
Filippo Brunelleschi (1377-1446)

137. The Dome of Florence Cathedral (14th century)
● It is located in Florence, Italy.
● The Cathedral of Florence was begun according
to Arnolfo di Cambio's design in 1296 and
enlarged in the mid 14th century.
● Brunelleschi designed the dome of the cathedral
(1420-36).

138. Several circumstances of the existing construction
increased the difficulty of building a dome and
influenced the design of its main features:
● Wide Span.
● Octagonal Shape.
● The drum’s wall was pierced with oculi (circular
openings) which provided a support that was
narrow, so thick-walls couldn’t be used.
Limitations

139. ● Ribbed Framework
● Masonry (stonework)
Techniques
● Horizontal
Reinforcement
● Use of new
machines in
construction.
● Link:
Brunelleschi’s Engineering

140. ● It is located in Florence, Italy.
● The first renaissance building (a
complete building).
● Brunelleschi supervised
construction during the initial phase
from 1419 to 1426.
● Francesco della Luna completed the
project in the 1440s
Brunelleschi-
Founding Hospital (1419)

141. Groin vaulted loggia of
The Founding Hospital-
Brunelleschi
Courtyard at
The
Founding
Hospital -
Brunelleschi

142. Sail Domes/ pendentive vault
To roof the loggia ceiling,
Brunelleschi employed sail domes/
pendentive vault

143. Brunelleschi used classical elements:
● Columns
● Round arches
● Vaults
● Moldings
● Round arches
● Corinthian order
● The arcade
● Pediment

144. ● He was a humanist, author, artist, architect, and
philosopher.
● He wrote ten books on Architecture inspired by
Vitruvius which became so important to
Renaissance Architecture.
● He focused on proportions and harmony; as
Greek and Roman architecture.
Leon Battista Alberti (1404-1472)

145. ● Architect: It is located in Florence, Italy.
● In the fourteenth century, a façade had been
begun and abandoned for the Gothic
Church of Santa Maria Novella
● Wall architecture .
● Blind arches
Alberti:
Santa Maria Novella (1458-70)

146. Pre-existing features
Non-Classical Aspects
• Pointed arches.
• Façade decorated with polychrome marble in a two-
dimensional manner; which is typical of Italian
Romanesque and Gothic architecture.
• Off-centered portals; which introduces an element of
irregularity to the lower level of the façade.

147. Classical elements
Temple front
Scroll like devices
Attic
Entablature
Engaged columns
Pilasters
Alberti’s Imposition of a Classical Order on the façade of Santa
Maria Novella

148. Resemblance to a triumphal arch in Santa Maria Novella. Proportions in Santa Maria Novella.

149. ● It was designed in 1470, and begun in
1472.
● It was completed in the 18th century.
Alberti - Sant' Andrea (1472)
Mantua, Italy

150. • Replaced side aisles with chapels
• Poor visibility from side aisles:
Alberti did not favor the use of side aisles
because the line of columns or pillars
supporting the nave ceiling covered the
view of the altar.
• Large and small chapels

151. Façade
solid
void

152. Alberti's design for the façade combined two Roman forms, the triumphal
arch and the temple front.
Roman models
Alberti Sant’ Andrea
Temple front
Alberti Sant’ Andrea
Triumphal arch

153. Dual Scale of the Orders

154. ● Barrel vault size: The height and width of the barrel vaults in the nave is repeated by the central vault of
the façade.
● Alternation of large and small openings (1)
● Vertical organization (2): division into three parts.
● Arrangement of vaults (3)
Correspondence between façade and interior
(1) (2) (3)

155. Renaissance artists
MichelangeloRaphaelDonatello Leonardo da Vinci

156. High Renaissance
Bramante
(1500-1525)

157. ● He introduced high renaissance to Rome.
● The Tempietto which was designed by
Bramante is considered to be the premier
example of High Renaissance.
● His Tempietto marked the beginning of the
High Renaissance in Rome (1502).
Donato Bramante (1444-1514)

158. ● It was commissioned for the king and queen of
Spain.
● It marks what was believed to be the exact spot
where Saint Peter was martyred.
Bramante - Tempietto (1502)
Tempietto, Rome, 1502
Tempietto Plan. Rome, 1502
Rome, Italy

159. ● Two spaces are created by the
circular core (cella)
Tempietto Elevation
Rome, 1502
● The Drum and dome are of equal
height.
● The height-to-width ratios of the
peristyle and the upper story below
the dome are both 3:5.

160. ● Bramante's Tempietto was the first building
in the Renaissance to use the Roman Doric
order correctly in terms of both the
proportions.
● The metope has symbols and items used in
prayers.
● The Doric order's plainness and masculinity
was in accordance with the building's
purpose of marking the place of St. Peter's
martyrdom.

162. ● Bramante (1506-1514)
St. Peter’s Basilica (1506-1626)

163. Old St.Peter’s (333)
• Old St. Peter's contained the tomb of
St. Peter, who Jesus entrusted with
the founding of the Church.
• It was built by Constantine.

164. ● Old St. Peter's was over eleven and a half centuries old at the beginning of the sixteenth century, and it needed to be
repaired structurally.
● Pope Julius II was the motivating force in the project to enlarge Old St. Peter's or replace it.
● Initially he wanted to repair Old St. Peter’s but decided to tear it down and build a bigger church.
● Bramante's first design, which was made by 1506, is known from two sources:
1. Commemorative medal
2. Parchment plan
Bramante - St. Peter’s (1506-1514)
(1) (2)

165. Bramante’s St. Peter Plan

166. ● The construction of the church started
in 1513 but a year later (1514) Bramante
died, which made the construction
indefinite.
● Raphael was then appointed as the
architect.
Bramante’s work that was removed
Bramante’s work that is still standing
Phases of construction
Bramante – St. Peter’s

167. Late Renaissance
Michelangelo, Palladio
(1525-1600)

168. ● He was a 16th century Florentine artist
renowned for his masterpieces in
sculpture, painting, and architectural
design.
● His most well known works are the David,
the Last Judgement, and the Basilica of
Saint Peter’s in the Vatican.
Michelangelo (1475-1564)

169. ● Many architects were involved in the
construction of St. Peter.
● Following the death of Antonio da
Sangallo, the position was given to
Michelangelo.
● At the death of Michelangelo in 1564,
the main parts that were yet to be
constructed were as following.
Michelangelo - St. Peter’s (1546-1564)

170. Comparison between Bramante and Michelangelo St.Peter’s
Elimination of
towers; to draw
the eye to the
dome.
Bramante’s St. Peter’s 1506
version from medal
Reconstruction of Michelangelo’s version
Changing the Drum
and Dome
Drum: Michelangelo
replaced the single
columns that were
covering the
window to double
columns standing
in between the
windows.
Dome:
Bramante –
Horizontal
Michelangelo -
Vertical
Bramante’s St. Peter’s Dome
Michelangelo’s St. Peter’s Dome

171. ● The dome was the building's
dominant feature.
● Four subsidiary domes, were
planned to rise from the four
corners, but only the front
two were built.
● They were built to fill in
some of the gap between the
outer walls and the central
dome
Michelangelo’s St. Peter’s
Michelangelo’s St. Peter’s plan

172. ● On the exterior, the
cross-over-square plan
is less apparent, it
increases the
building's central mass
and the circularity of
its shape.
● The angling of the
corners also increases
the number of
separate planes.
Michelangelo’s St. Peter’s
Michelangelo’s St. Peter’s
elevation

173. Tuscan pilasters
Corinthian pilasters and columns
Corners of piers
Ribs of dome
● Unification of levels. (1)
● Creation of differently sized bays. (2)
(1) Michelangelo’s St. Peter’s (2) Michelangelo’s St. Peter’s
Large bays
Small bays

174. ● Creation of rhythm. (3)
● Interlacing horizontals and verticals . (4)
(3) Michelangelo’s St. Peter’s (4) Michelangelo’s St. Peter’s

175. ● He is considered one of the most influential individuals
in the history of western architecture.
● His teaching summarized in “The Four Books of
Architecture” gained him wide recognition beyond Italy.
● He designed many palaces, villas, and churches but his
reputation was due to his villa designs.
● His style “Palladian style” brought together various
Renaissance; the revival of Roman symmetrical planning
and harmonic proportions.
Andrea Palladio (1508-1580)

176. The beauty of the landscape in
every direction was Palladio's
inspiration for designing porticos
for all four sides.
Concept/ Inspiration

177. ● Symmetry.
● Basic design with
harmonious
proportions.
● Use of dome.
● The use of porticos
on all four sides
makes it possible to
enjoy sun in winter
and shade in
summer.

179. ● After his return from Rome, Pope Paolo
Almerico commissioned Palladio to design
the Villa Rotanda which would serve as a full
time residence.
● Palladio died in 1580, and the villa was
completed by Vincenzo Scamozzi (1552-
1616)
Palladio - Villa Rotanda (1566-after 1580)
Vicenza, Italy

181. Arched openings on the side of the
porches provided both shade and
protection against the wind.

182. ● The church of San Giorgio Maggiore was part of a
Benedictine monastery whose various parts were
added or rebuilt during the fifteenth and sixteenth
centuries.
● In the early 1560s, Palladio was involved with
making repairs to the existing church.
Palladio - San Giorgio Maggiore (1566)
Venice, Italy

185. Palladio –San
Giorgio Maggiore
(1566) AD
• large dome
• Solid walls
• Wall architecture
• Layered walls
• The use of colors
• The pediment
• Corinthian order

186. • Use of Two Temple Fronts
• Dual Scale of the Orders (similar to Sant’ Andrea)
• Unity through Repetitions of similar features

187. • Coordination with the Façade:
As they are on the façade, the orders on the interior of San Giorgio Maggiore are used in two sizes and types. (1)
• Combining Engaged Columns and Pilasters
• Freestanding Columns
(1)

188. Baroque
07

189. The word “Baroque” means oddly shaped pearl. It has been
widely used since the19th century to describe the western
European art from about
1600 – 1750 c

190. • Baroque architecture
started in Italy and
spread throughout
Europe
• Introduced by the
Catholic church in order
to combat reformation
with a new architecture
the inspired surprise and
awe

191. CHARACTERISTICS
- Motion, whether actual or implied
- Dramatic use of light
- Decorations that gives theatrical
grandiose space
- representing infinity
- bright colors, using real gold and
white marble
- illusion effects

192. BAROQUE ART

193. 193
Renaissance Art vs. Baroque Art
Madonna of the Goldfish,
Raphael, 1506
The Crucifixion of St. Peter,
Caravaggio, 1600-01

194. 194
Renaissance Art
Madonna of the Goldfish,
Raphael, 1506
• Focusing on the background (the nature) as
much as the human figures
• Representing figures balanced
(Horizontal/vertical)
• Representing these figures in a perfect
image
• Clear
• Calm
• Idealism
• Uninterrupted contours

195. 195
Baroque Art
• Emotional intensity
• Instable
• Movement
• realistic
• Diagonals
• Effects of light, crating the depth
• Interrupted conrours
The Crucifixion of St. Peter,
Caravaggio, 1600-01

196. The Allegory of The Divine,
Pietro De Cortona, Rome (1596-
1669)
• Optical illusion
• Using the contrast between the
light and dark, which gives the
sense of depth
• Linear perspective
• Motion and instability
• Realistic human figures

197. ● Emotional intensity
● A moment in time
● Dynamism & instability
● Energy
● Diagonal
● Real/ not idealized
● Effects of light (contrast
between the light and dark
Bernini – David
1623-4
David defeats
Goliath

200. BAROQUE
Architecture

201. 1600 - 1625
Early Baroque

202. Michelangelo- Capitoline
Hill Piazza, Rome
• Monumental civic plaza for a major city
like Rome
• Reestablishing the grandeur of Rome
• He reversed the classical orientation of the
Capitoline, in order to address new,
developing section of the city, instead of
ancient ruin from the past

203. Michelangelo- Capitoline
Hill Piazza, Rome
• Existing medieval buildings buildings
• Buildings set an acute angle for one
another

204. Michelangelo- Capitoline
Hill Piazza, Rome
• The Palazzo dei Conservatori was
restored.
• A new building (Palazzo Nuovo), built at
the same angle on the north side of the
piazza to offset the Conservatori, creating
a trapezoidal piazza.

205. Michelangelo- Capitoline
Hill Piazza, Rome
• An equestrian statue of Marcus Aurelius
was to stand in the middle of the piazza
set in a paved oval field
• Bringing order to an irregular space
• The Palazzo del Senatore was to be
restored with a double outer stairway, and
the campanile moved to the center axis of
the palazzo

208. Michelangelo- Capitoline
Hill Piazza, Rome
• flight of steps was built to lead up to the
enclosed piazza from below, further
accentuating the central axis

209. Bernini – St. peter’s
Basilica
. Colonnade and
piazza
• Oval shape court
• Symbolism:
embracing arms of
the mother church
• Illusion: making the
façade looks taller

210. • In order to compensate for the
wide façade, Bernini made the
façade looks taller, by
constructing relatively low (39
foot) columns
• He also connected the curved
colonnade to the basilica by a
pair of straight, enclosed
corridors of the same style and
height

211. • Pantheon is the main
inspiration
• The idea of making an
outside Pantheon

212. Bernini – St.
peter’s Basilica
. Baldicchino
• Bernini chose
Solomonic twisted
columns in order to
represent
Jerusalem, the place
of Jesus’s
Crucifixion,
resurrection and
ascent to heaven

213. Bernini – St.
peter’s Basilica
Baldicchino
• He chose the
Baldicchino to be in
the intersection
between the nave
and the transept,
under Michelangelo’s
dome
• He suggested to
make the alter under
the Baldicchino
representing Jesus’s
crucifixion

214. Bernini – St.
peter’s Basilica
. Baldicchino
• Triumph
represents the
resurrection of
Jesus
• Michelangelo’s
dome
represents the
Jesus’s ascent
to heaven

215. Bernini – St.
peter’s Basilica
. Baldicchino
• The Baldicchino makes
an visual mediation
between the huge
scale of the church and
the human scale
• It marks St. Peter’s
tomb underneath
• Presenting movement
in the columns (the
connection between
this place with the
heaven)

216. Giacommo Della
Porta - The church of
Gesu
Façade – 1580 , Italy
• The first truly baroque
façade, introducing
baroque style
• It was highly decorated in
the 17th century

218. attention is drawn toward the apse
end of the church by a flood of
light in the dome and the apse.
Providing routes to tombs in
transept arms. To minimize the
distraction of people visiting the
tombs.

219. ● attention is drawn toward the
apse end of the church by a flood
of light in the dome and the apse.
● Providing routes to tombs in
transept arms. To minimize the
distraction of people visiting the
tombs.
● Painting on ceiling to engage the
worshippers' attention, and gives
the idea of the vision the heaven

220. 1625 - 1675
High Baroque

221. Pietro de Cortona –
Santa Luca E Martina,
Rome, (1635-1650)
• Greek cross plan
• Centralized church
• The nave and the
choir arms are taller
than the transept, to
orient the visitor to
the high alter
• Representing
movement through
plastic treatment

222. Pietro de Cortona –
Santa Luca E Martina,
Rome, (1635-1650)
• Use of white Marble
for the interior

223. Borromini – The
church of Carlo (1634-
1646)
ROME
• Centralized plan
• It can be
understood as a
longitudinal
church
• Movement
(San Carlino alle Quattro Fontane)

224. Borromini – The
church of Carlo (1634-
1646)
• One side if the plan
is reflected on the
façade, causing
concavity and
convexity
• The other side of
the plan takes the
shape of the site
• Dealing with the
building as a
sculpture
(San Carlino alle Quattro Fontane)

225. • Geometry of the plan
(San Carlino alle Quattro Fontane)

226. (San Carlino alle Quattro Fontane)

227. The interior of the church
• The dome presents an optical illusion; it
looks much higher than it is
• Borromini has created contrast between the
dynamic lower (human) space, and the
upper, light and luminous (divine) space
(San Carlino alle Quattro Fontane)

228. The interior of the church
• The dome appears to be floating above the
interior of the church because its springing
point and light sources are concealed by
the zone below.
(San Carlino alle Quattro Fontane)

229. 1625 - 1675
Late Baroque

230. Louis Le Vau-
The palace of
Versailles, France
• Begun by Louis XIII in 1623, it
was originally a hunting lodge in
brick and stone.
• The first phase of expansion
(1661-1678) was during Louis
XIV.
• In 1682, when the palace was
large enough. The king moved
the entire royal court and
French government to
Versailles.

231. The palace of
Versailles, France
• The Façades
• Illusory by applying some
distortions to give the illusion
that a perfect harmony exists
• Repetition of the large windows
• using classical order, dealing
with light and shadow to the
central part of the wide facade

232. The palace of
Versailles, France
• Designing the city and the
landscape
• Baroque architects principally dealt
with the urban planning in terms of
a circus and straight road
• Into the fabric of the city they cut
circuses, each dominated by some
structure, a church, a palace, a
fountain, and then linked these
points with a network of long,
straight avenues aimed, so to
speak, at these structures

233. The palace of
Versailles, France
Louis Le Vau

234. The Hall of
Mirrors, Versailles,
France
• Using mirrors to
represent infinity
• Reflecting perspective
and making it
unrecognizable

235. The Basilica of
Fourteen Helpers,
Germany (1722)
• Motion
• The Alter is in the
middle of the nave
• Using oval, circular, and
rectangular shapes

236. The Basilica of
Fourteen Helpers,
Germany (1722)
• Using real gold and
white Marble for the
interior
• Frescos in the ceiling
with light represents
the idea of a vision to
the heaven

237. Rococo
08

238. Rococo, also known as 'late
Baroque', was an extreme,
decorative development of
Baroque architecture that
emerged in the 18th century as a
reaction against grandeur and
symmetry.
The word Rococo is
derived from the
French word rocaille.
The Rococo style began in
France in the 1730s

239. - Rooms were more
likely to be
rectangular,
possible with
the corners
rounded off,
painted in ivory
white or a
pastel tone.
Rococo

240. Furniture in Rococo
- The use of mirrors for brilliance of effect in
grand salons.
- Rococo rooms were designed as total
works of art with elegant and :
- ornate furniture.
- small sculptures.
- ornamental mirrors.
- and tapestry complementing
architecture, reliefs, and wall paintings.

241. Characteristics
*Elaborate curves.
*Decorative.
*Pastel colors.
*Display shapes of
nature; leaves,shells,
floral
*Asymmetry.

242. Quelez Palace*located in Portugal.
*It is often referred to as the Portuguese Versailles.
*One of the last Rococo buildings.
1747 AD

243. Quelez Palace
Landscape designing

244. They started designing the inner
and the outer space in harmony
Designing the plaza
They even worked on the
geometrical designs for the
garden to be aligned with the
building .

245. The color pallet
was taken from
the country's flag
Adding
ornaments to the
façade
Using sculptures
in the palace yard
Focusing on the
garden design
and space
Quelez Palace

246. Quelez Palace
The palace plaza
Designing the plaza
came more and more
important in the
Baroque and the
Rococo

247. Thank you
History of architecture II
supervisor : Dr. yasir sakr