Colosseum principle


Colosseum principle
   In architecture, the term applies to the stacking of the classical architectural orders on the exterior of a building in emulation of the Colosseum in Rome. Usually the Doric, the heavier and more masculine of the orders, is used for the lower story to grant the structure a visually solid base. The Ionic order, more feminine and ornate than the Doric, is used for the second story, and the Corinthian, the lightest and most decorative of the three, for the third level. Leon Battista Alberti was the first to apply this principle to Renaissance architecture in the Palazzo Rucellai, Florence (beg. c. 1453). Giuliano da Sangallo applied it to the façade of the Church of Santa Maria delle Carceri (1484-1492) in Prato and Jacopo Sansovino to the Library of St. Mark, Venice (1537-1580s). When the classical vocabulary of the Italian architects spread to other parts of Europe, in France Philibert de L'Orme applied the Colosseum principle to his Château d'Anet (beg. 1550) and François Mansart to the Church of Feuillants (1623-1624), both in Paris. In England, Inigo Jones used it in the Banqueting House at Whitehall Palace (1619-1622).

Historical dictionary of Renaissance art. . 2008.

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  • Palazzo Farnese, Rome — (c. 1513 c. 1589)    Commissioned from Antonio da Sangallo the Younger by Cardinal Alessandro Farnese who in 1534 was elected to the papal throne as Paul III. After his election, the pope asked Sangallo to modify the original design to create a… …   Dictionary of Renaissance art

  • Alberti, Leon Battista — (1404 1472)    After Filippo Brunelleschi s death in 1446, Alberti became the leading architect of the Renaissance. He was born into a noble family that had been exiled from Florence in 1402 and was educated in the universities of Padua and… …   Dictionary of Renaissance art

  • Jones, Inigo — (1573 1652)    Inigo Jones is credited with bringing Palladianism to England. He was born in Smithfield to a cloth worker and is mentioned in documents dating to 1603 as a picture maker. Soon thereafter, he went to Italy where he must have seen… …   Dictionary of Renaissance art

  • L'Orme, Philibert de — (c. 1510 1570)    French architect responsible for proliferating the Italian architectural vocabulary in France. Trained by his father in Lyon, L Orme went to Italy in 1533 to study Italian architecture firsthand. Upon his return to France, he… …   Dictionary of Renaissance art

  • Library of St. Mark, Venice — (1537 1580s)    Jacopo Sansovino s greatest masterpiece. The Library of St. Mark was built to house the Greek manuscripts Cardinal Basilius Bessarion, the Patriarch of Constantinople, bequeathed to the Republic of Venice in 1468. Sansovino was… …   Dictionary of Renaissance art

  • Mansart, François — (1598 1666)    French architect, first trained by his father who was a carpenter. When his father died in 1610, Mansart completed his training with his brother in law, the architect Germain Gaultier who had collaborated with Salomon de Brosse. No …   Dictionary of Renaissance art

  • Sangallo, Giuliano da — (1443 1516)    Giuliano da Sangallo was the founding member of a dynasty of Florentine architects. Like Filippo Brunelleschi and Leon Battista Alberti who influenced him, he was deeply interested in ancient architecture. The notes he took on the… …   Dictionary of Renaissance art

  • Sangallo the Elder, Antonio da — (1455 1534)    Florentine master from a family of prominent architects that included his older brother Giuliano da Sangallo and his nephew Antonio da Sangallo the Younger. His most important commission is the Church of the Madonna di San Biagio… …   Dictionary of Renaissance art

  • architecture — /ahr ki tek cheuhr/, n. 1. the profession of designing buildings, open areas, communities, and other artificial constructions and environments, usually with some regard to aesthetic effect. Architecture often includes design or selection of… …   Universalium

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