Architecture of Rome
Rome is widely regarded by scholars as the second Renaissance capital of Italy, after Florence, and was one of the most important architectural and cultural centers during this period. Roman Renaissance architects derived their main designs and inspirations from classical models. The style of Roman Renaissance architecture does not greatly differ from what may be observed in Florence Renaissance architecture. However, patrons in Rome tended to be important officials of the Catholic Church, and buildings are generally religious or palatial in function.
Donato Bramante (1444—1514) was a key figure in Roman architecture during the High Renaissance. Bramante was born in Urbino and first came to prominence as an architect in Milan before traveling to Rome. In Rome, Bramante was commissioned by Ferdinand and Isabella to design the Tempietto, a temple that marks what was believed to be the exact spot where Saint Peter was martyred. The temple is circular, similar to early Christian martyriums, and much of the design is inspired by the remains of the ancient Temple Vesta. The Tempietto is considered by many scholars to be the premier example of High Renaissance architecture. With its perfect proportions, harmony of parts, and direct references to ancient architecture, the Tempietto embodies the Renaissance. This structure has been described as Bramante's "calling card" to Pope Julius II, the important Renaissance patron of the arts who would then employ Bramante in the historic design of the new St. Peter's Basilica.
The Tempietto, c. 1502, Rome, Italy.
Designed by Donato Bramante, the Tempietto is considered the premier example of High Renaissance architecture.
Another primary example of Renaissance Roman architecture includes the Palazzo Farnese, one of the most important High Renaissance palaces in Rome. First designed in 1517 for the Farnese family, the building expanded in size and conception from designs by Antonio da Sangallo the Younger when Alessandro Farnese became Pope Paul III in 1534. Its building history involved some of the most prominent Italian architects of the 16th century, including Michelangelo, Jacopo Barozzi da Vignola, and Giacomo della Porta. Key Renaissance architectural features of the main facade include the alternating triangular and segmental pediments that cap the windows of the piano nobile, the central rusticated portal, and Michelangelo's projecting cornice, which throws a deep shadow on the top of the facade. Michelangelo revised the central window in 1541, adding an architrave to give a central focus to the facade, above which is the largest papal stemma, or coat-of-arms with papal tiara, Rome had ever seen.
Palazzo Farnese
The Palazzo Farnese in Rome demonstrates the Renaissance window's particular use of square lintels and triangular and segmental pediments used alternatively.
The Palazzo Farnese courtyard, initially open arcades, is ringed by classically inspired columns (characteristic of Italian Renaissance architecture), in ascending orders (Doric, Corinthian, and Ionic). The piano nobile entablature was given a frieze with garlands, added by Michelangelo. On the garden side of the palace, which faced the River Tiber, Michelangelo proposed the innovatory design of a bridge which, if completed, would have linked the palace with the gardens of the Vigna Farnese. While the practicalities of achieving this bridge remained dubious, the idea was a bold and expansive one. During the 16th century, two large granite basins from the Baths of Caracalla were adapted as fountains in the Piazza Farnese, the urban face of the palace. The palazzo was completed for the second Cardinal Alessandro Farnese by Giacomo della Porta's porticoed facade towards the Tiber (finished in 1589). Following the death of Cardinal Odoardo Farnese in 1626, the palazzo stood virtually uninhabited for 20 years.