Architecture: Gothic and Renaissance

by T. Roger Smith

Rome, the capital of the country, contains, as was fit, the central building of the fully-developed Renaissance, St. Peter’s. Bramante, the Florentine, was the architect to whom the task of designing a cathedral to surpass anything existing in Europe was committed by Pope Julius II. at the opening of the sixteenth century. Some such project had been entertained, and even begun, fifty years earlier, but the enterprise was now started afresh, a new design was made, and the first stone was laid by the Pope in 1506. Bramante died in some six or seven years, and five or six architects in succession, one of whom was Raphael, proceeded with the work, without advancing it rapidly, for nearly half a century, during which time the design was modified again and again. In 1546 the great Michelangelo was appointed architect, and the last eighteen years of his life were spent in carrying on this great work. He completed the magnificent dome in all its essential parts, and left the church a Greek cross (i.e. one which has all its four arms equal) on plan, with the dome at the crossing. The boast is attributed to him that he would take the dome of the Pantheon and hang it in the air; and this he has virtually accomplished in the dome of St. Peter’s—a work of the greatest beauty of design and boldness of construction.

Unfortunately, at the beginning of the seventeenth century, Maderno was employed to lengthen the nave. This transformed the plan of the cathedral into a Latin cross. The existing portico was built at the same time; and in 1661 Bernini added the vast forecourt, lined by colonnades, which now forms the approach.

This cathedral, of which the history has been briefly sketched, is the largest in the world. As we now see it, it consists of a vast vestibule; a nave of four bays with side aisles; a vast square central space over which hangs the great dome; transepts and a choir, each of one bay and an apse. Outside the great central space, an aisle, not quite like the ordinary aisle of a church, exists, and there are two side chapels. It can be well understood that if the largest church in Christendom is divided into so few parts, these must be themselves of colossal dimensions, and the truth is that the piers are masses of masonry which can be called nothing else than vast, while the spaces spanned by the arches and vaults are prodigious. There is little sense of mystery about the interior of the building (Fig. [64]), the eye soon grasps it as a whole, and hours must be spent in it before an idea of its gigantic size is at all taken in. The beauty of the colouring adds wonderfully to the effect of St. Peter’s upon the spectator, for the walls are rich with mosaics and coloured marbles; and the interior, the dome especially, with the drum upon which it rests, are decorated in colour throughout, with fine effect and in excellent taste. The interior is amply lighted, and, though very rich, not over decorated; its design is simple and noble in the extreme, and all its parts are wonderful in their harmony. The connection between the dome and the rest of the building is admirable, and there is a sense of vast space when the spectator stands under that soaring vault which belongs to no other building in the world.

The exterior is disappointing as long as the building is seen in front, for the façade is so lofty and advances so far forward as to cut off the view of the lower part of the dome. To have an idea of the building as Michelangelo designed it, it is necessary to go round to the back; and then, with the height of the drum fully seen and the contour of the dome, with all its massy lines of living force, carrying the eye with them right up to the elegant lantern that crowns the summit, some conception of the hugeness and the symmetry of this mountain of art seems to dawn on the mind. But even here it is with the utmost difficulty that one can apply any scale to the mass, so that the idea which the mind forms of its bulk is continually fluctuating.

The history of this building extends over all the period of developed Renaissance in Rome, and its list of architects includes all the best known names. By the side of it every other church, even St. John Lateran, appears insignificant; so that the secular buildings in Rome, which are numerous, and some of them excellent, are more worth attention than the churches, though not a few of the three hundred churches and basilicas of the metropolis of Italy are good examples of Renaissance.

Fig. 64.—St. Peter’s at Rome. Interior. (1506-1661.)

The altars, tombs, and other architectural or semi-architectural works which occur in many of the churches of Rome, are, however, finer works of art as a rule than the buildings which they adorn. Such gems are not confined to Rome, but are to be found throughout Italy: many of them belong to the best period of art. Marble is generally the material, and the light as a rule falls on these works in one direction only. Under these [!-- original location of Fig. 64 --] circumstances the most subtle moulding gives a play of light and shade, and the most delicate carving produces a richness of effect which cannot be attained in exterior architecture, executed for the most part in stone, exposed to the weather, and seen by diffused and reflected light. Nothing of this sort is finer than the monuments by Sansovino, erected in Sta. Maria del Popolo at Rome, one of which we illustrate on a small scale (Fig. [65]). The magnificent altar-piece in Sta. Coronale at Vicenza, in which is framed Bellini’s picture of the baptism of Christ, is another example, on an unusually large scale—fine in style, and covered with beautiful ornament.

No secular building exists in Rome so early or so simple as the severe Florentine palaces; but Bramante, who belongs to the early period, erected there the fine Cancelleria palace; and the Palazzo Giraud (Fig. [66]). These buildings resemble one another very closely; each bears the impress of refined taste, but delicacy has been carried almost to timidity. The pilasters and cornices which are employed have the very slightest projection, but the large mass of the wall as compared with the openings, secures an appearance of solidity, and hence of dignity. The interior of the Cancelleria contains an arcaded quadrangle (cortile) of great beauty. Smaller palaces belonging to the same period and of the same refined, but somewhat weak, character exist in Rome.