A Text-Book of the History of Architecture / Seventh Edition, revised

by A. D. F. Hamlin

LATER MONUMENTS. In the few eighteenth-century buildings which are worthy of mention there is noticeable a reaction from the extravagances of the seventeenth century, shown in the dignified correctness of the exteriors and the somewhat frigid splendor of the interiors. The most notable work of this period is the Royal Palace at Caserta, by Van Vitelli (1752), an architect of considerable taste and inventiveness, considering his time. This great palace, 800 feet square, encloses four fine courts, and is especially remarkable for the simple if monotonous dignity of the well proportioned exterior and the effective planning of its three octagonal vestibules, its ornate chapel and noble staircase. Staircases, indeed, were among the most successful features of late Italian architecture, as in the Scala Regia of the Vatican, and in the Corsini, Braschi, and Barberini palaces at Rome, the Royal Palace at Naples, etc.

In church architecture the east front of S. John Lateran in Rome, by Galilei (1734), and the whole exterior of S. M. Maggiore, by Ferd. Fuga (1743), are noteworthy designs: the former an especially powerful conception, combining a colossal order with two smaller orders in superposed loggie, but marred by the excessive scale of the statues which crown it. The Fountain of Trevi, conceived in much the same spirit (1735, by Niccola Salvi), is a striking piece of decorative architecture. The Sacristy of St. Peter’s, by Marchionne (1775), also deserves mention as a monumental and not uninteresting work. In the early years of the present century the Braccio Nuovo of the Vatican, by Stern, the imposing church of S. Francesco di Paola at Naples, by Bianchi, designed in partial imitation of the Pantheon, and the great S. Carlo Theatre at Naples, show the same coldly classical spirit, not wholly without merit, but lacking in true originality and freedom of conception.

CAMPANILES. The campaniles of the Renaissance and Decline deserve at least passing reference, though they are neither numerous nor often of conspicuous interest. That of the Campidoglio (Capitol) at Rome, by Martino Lunghi, is a good example of the classical type. Venetia possesses a number of graceful and lofty bell-towers, generally of brick with marble bell-stages, of which the upper part of the Campanile of St. Mark and the tower of S. Giorgio Maggiore are the finest examples.

The Decline attained what the early Renaissance aimed at—the revival of Roman forms. But it was no longer a Renaissance; it was a decrepit and unimaginative art, held in the fetters of a servile imitation, copying the letter rather than the spirit of antique design. It was the mistaken and abject worship of precedent which started architecture upon its downward path and led to the atrocious products of the seventeenth century.

MONUMENTS (mainly in addition to those mentioned in the text). 15th Century—Florence: Foundling Hospital (Innocenti), 1421; Old Sacristy and Cloister S. Lorenzo; P. Quaratesi, 1440; cloisters at Sta. Croce and Certosa, all by Brunelleschi; façade S. M. Novella, by Alberti, 1456; Badia at Fiesole, from designs of Brunelleschi, 1462; Court of P. Vecchio, by Michelozzi, 1464 (altered and enriched, 1565); P. Guadagni, by Cronaca, 1490; Hall of 500 in P. Vecchio, by same, 1495.—Venice: S. Zaccaria, by Martino Lombardo, 1457–1515; S. Michele, by Moro Lombardo, 1466; S. M. del Orto, 1473; S. Giovanni Crisostomo, by Moro Lombardo, atrium of S. Giovanni Evangelista, Procurazie Vecchie, all 1481; Scuola di S. Marco, by Martino Lombardo, 1490; P. Dario; P. Corner-Spinelli.—Ferrara: P. Schifanoja, 1469; P. Scrofa or Costabili, 1485; S. M. in Vado, P. dei Diamanti, P. Bevilacqua, S. Francesco, S. Benedetto, S. Cristoforo, all 1490–1500.—Milan: Ospedale Grande (or Maggiore), begun 1457 by Filarete, extended by Bramante, cir. 1480–90 (great court by Richini, 17th century); S. M. delle Grazie, E. end, Sacristy of S. Satiro, S. M. presso S. Celso, all by Bramante, 1477–1499.—Rome: S. Pietro in Montorio, 1472; S. M. del Popolo, 1475?; Sistine Chapel of Vatican, 1475; S. Agostino, 1483.—Sienna: Loggia del Papa and P. Nerucci, 1460; P. del Governo, 1469–1500; P. Spannocchi, 1470; Sta. Catarina, 1490, by di Bastiano and Federighi, church later by Peruzzi; Library in cathedral by L. Marina, 1497; Oratory of S. Bernardino, by Turrapili, 1496.—Pienza: Cathedral, Bishop’s Palace (Vescovado), P. Pubblico, all cir. 1460, by B. di Lorenzo (or Rosselini?). Elsewhere (in chronological order): Arch of Alphonso, Naples, 1443, by P. di Martino; Oratory S. Bernardino, Perugia, by di Duccio, 1461; Church over Casa-Santa, Loreto, 1465–1526; P. del Consiglio at Verona, by Fra Giocondo, 1476; Capella Colleoni, Bergamo, 1476; S. M. in Organo, Verona, 1481; Porta Capuana, Naples, by Giul. da Majano, 1484; Madonna della Croce, Crema, by B. Battagli, 1490–1556; Madonna di Campagna and S. Sisto, Piacenza, both 1492–1511; P. Bevilacqua, Bologna, by Nardi, 1492 (?); P. Gravina, Naples; P. Fava, Bologna; P. Pretorio, Lucca; S. M. dei Miracoli Brescia; all at close of 15th century.

16th Century—Rome: P. Sora, 1501; S. M. della Pace and cloister, 1504, both by Bramante (façade of church by P. da Cortona, 17th century); S. M. di Loreto, 1507, by A. da San Gallo the Elder; P. Vidoni, by Raphael; P. Lante, 1520; Vigna Papa Giulio, 1534, by Peruzzi; P. dei Conservatori, 1540, and P. del Senatore, 1563 (both on Capitol), by M. Angelo, Vignola, and della Porta; Sistine Chapel in S. M. Maggiore, 1590; S. Andrea della Valle, 1591, by Olivieri (façade, 1670, by Rainaldi).—Florence: Medici Chapel of S. Lorenzo, new sacristy of same, and Laurentian Library, all by M. Angelo, 1529–40; Mercato Nuovo, 1547, by B. Tasso; P. degli Uffizi, 1560–70, by Vasari; P. Giugni, 1560–8.—Venice: P. Camerlinghi, 1525, by Bergamasco; S. Francesco della Vigna, by Sansovino, 1539, façade by Palladio, 1568; Zecca or Mint, 1536, and Loggetta of Campanile, 1540, by Sansovino[25], Procurazie Nuove, 1584, by Scamozzi.—Verona: Capella Pellegrini in S. Bernardino, 1514; City Gates, by Sammichele, 1530–40 (Porte Nuova, Stuppa, S. Zeno, S. Giorgio).—Vicenza: P. Porto, 1552; Teatro Olimpico, 1580; both by Palladio.—Genoa: P. Andrea Doria, by Montorsoli, 1529; P. Ducale, by Pennone, 1550; P. Lercari, P. Spinola, P. Sauli, P. Marcello Durazzo, all by Gal. Alessi, cir. 1550; Sta. Annunziata, 1587, by della Porta; Loggia dei Banchi, end of 16th century.—Elsewhere (in chronological order). P. Roverella, Ferrara, 1508; P. del Magnifico, Sienna, 1508, by Cozzarelli; P. Communale, Brescia, 1508, by Formentone; P. Albergati, Bologna, 1510; P. Ducale, Mantua, 1520–40; P. Giustiniani, Padua, by Falconetto, 1524; Ospedale del Ceppo, Pistoia, 1525; Madonna delle Grazie, Pistoia, by Vitoni, 1535; P. Buoncampagni-Ludovisi, Bologna, 1545; Cathedral, Padua, 1550, by Righetti and della Valle, after M. Angelo; P. Bernardini, 1560, and P. Ducale, 1578, at Lucca, both by Ammanati.

17th Century: Chapel of the Princes in S. Lorenzo, Florence, 1604, by Nigetti; S. Pietro, Bologna, 1605; S. Andrea delle Fratte, Rome, 1612; Villa Borghese, Rome, 1616, by Vasanzio; P. Contarini delle Scrigni, Venice, by Scamozzi; Badia at Florence, rebuilt 1625 by Segaloni; S. Ignazio, Rome, 1626–85; Museum of the Capitol, Rome, 1644–50; Church of Gli Scalzi, Venice, 1649; P. Pesaro, Venice, by Longhena, 1650; S. Moisé, Venice, 1668; Brera Palace, Milan; S. M. Zobenigo, Venice, 1680; Dogana di Mare, Venice, 1686, by Benone; Santi Apostoli, Rome.

18th and early 19th Century: Gesuati, at Venice, 1715–30; S. Geremia, Venice, 1753, by Corbellini; P. Braschi, Rome, by Morelli, 1790; Nuova Fabbrica, Venice, 1810.

[24.] See [Appendix C].

[25.] See [Appendix B].