Wikipedia - Benutzerbeiträge [de]

Krone der Anden

2012-01-12T22:43:25Z

Prof saxx: pic

[[File:Corona inmaculada concepción de Popayán2.jpg|thumb|<center>Crown of the Andes exhibited in the Indianapolis Museum of Art 2009.]]
The '''Crown of the Andes''', or ''La Corona de [[Nuestra Señora de la Asunción de Popayán]]'', is a [[votive crown]] originally made for a larger than life-size statue of the Virgin in the Cathedral of [[Popayán]], [[Colombia]]. The crown is 34.5 cm high, 52 cm in circumference, weighs 2.18 kilos in all and is made from 18 - 22 carat gold. There are 450 emeralds on it: the largest, known as the “Atahualpa Emerald”, is a rectangular stone measuring 15.8 by 16.15 mms.<ref>El País, 19 September 1995:"La corona, de 34,5 centímetros de alto y 52 de circunferencia, tiene un peso total de 2,18 kilos y una calidad de oro de I8-22 quilates. Todas las joyas, en un total de 450 esmeraldas, se distribuyen entre la banda y la diadema. La esmeralda más grande es la esmeralda de Atahuelpa, una piedra de talla rectangular de 15,80 por 16,15 milímetros."''("The crown, which is 34.5 cms high and has a circumference of 52 cms, weighs 2.8 kilos and is made of 18-22 carat gold. The jewels, totalling 450 emeralds, are distributed between the headband and diadem. The biggest is the Atalhualpa emerald, a rectangular stone measuring 15.8 by 16.5mms.")''</ref>

==History==
Various tales circulate about its construction and origin. According to the most common report it was made in the 1590s in thanksgiving for Popayán being spared an outbreak of [[smallpox]] devastating the region, and includes emeralds taken from the captured [[Inca]] Emperor [[Atahualpa]]: Christopher Hartop however, a jewellery expert who examined the crown during a proposed sale at the auctioneer Christie’s in New York in 1995, suggested then it was a composite piece, parts of which were probably made at different times between the 16th and 18th centuries.<ref>Norman, Geraldine, ‘Crowning Glory of the Andes’ : The Independent on Sunday, 18 June 1995: http://www.independent.co.uk/arts-entertainment/crowning-glory-of-the-andes-1587131.html</ref> The crown had a long history of use in the Holy Week celebrations in Popayán, until in the early decades of the 20th century papal permission was sought to sell it and dedicate the funds raised to charitable purposes. Permission was given in 1914 but the sellers, the Confraternity of the Immaculate Conception (la Cofradía de la Inmaculada Concepción), did not find a buyer until 1936 when an American syndicate led by Chicago businessman Warren J. Piper purchased it. At the time Mr. Piper said the crown would be broken up and individual jewels sold off, but this did not happen. Instead the crown was exhibited sporadically over the next few decades, notably at Detroit in 1937 when General Motors used it at the unveiling of their new Chevrolet range: 225,000 people are said to have viewed it on that occasion, some 15% of the city's then population. It was also displayed at the New York World's Fair of 1939 and in 1959 at the [[Royal Ontario Museum]].<ref>Norman, Geraldine, ‘Crowning Glory of the Andes’ : The Independent on Sunday, 18 June 1995: http://www.independent.co.uk/arts-entertainment/crowning-glory-of-the-andes-1587131.html</ref>

The crown was not sold during the 1995 sale and its current owner(s) are not identified. It is believed to be usually kept in New York but is occasionally put on display, most recently in [[Indianapolis]] at an exhibition called 'Sacred Spain: Art and Belief in the Spanish World', held October 2009 - January 3 2010 at the [[Indianapolis Museum of Art]].

It has been suggested that as the crown was made in Popayan from local gold and emeralds and used there continually in religious worship for some three centuries it should be returned to the region where it has most cultural resonance.<ref>Germán Izquierdo Manrique, ‘La Corona de los Andes: La más bella de las coronas religiosas está en USA y debería estar en Colombia’: CiudadViva, Instituto Distrital de Cultura y Turismo, October 2006: http://www.ciudadviva.gov.co/octubre06/periodico/8/index.php</ref> It is not known whether any moves are under way to achieve this.

==Notes==
<references/>

==External links==
* Further details can be found at the [http://www.internetstones.com/crown-of-andes-emerald-studded-crown.html Internet Stones] website

* Indianapolis Museum of Art featured the Crown of the Andes during their 2009 season [http://www.usatoday.com/travel/destinations/2009-12-02-sacred-spain-exhibit-indianapolis_N.htm ''"Sacred Spain: Art and Belief in the Spanish World"'']

* USA Today featured a [http://i.usatoday.net/travel/_photos/2009/12/02/sacredx-large.jpg photographic image] of the display by Darron Cummings, AP

* Intrigue surrounding the baroque jeweled treasure provides material for a work of fiction [http://www.onesacredcrown.com/OneSacredCrown/A_thrilling_novel.html ''One Sacred Crown''] published in 2009 to coincide with the North American exhibition.

[[Category : Crowns]]
[[Category : Jewellery]]

[[es:Corona de los Andes]]

Haeinsa

2011-10-03T11:55:28Z

Prof saxx: /* External links */ hr link

{{Infobox World Heritage Site
| WHS = Haeinsa Temple Janggyeong Panjeon, the Depositories for the Tripitaka Koreana Woodblocks
| Image = [[Image:Korea-Haeinsa-07.jpg|250px]]
| State Party = [[Republic of Korea]]
| Type = Cultural
| Criteria = iv, vi
| ID = 737
| Region = [[List of World Heritage Sites in Asia|Asia-Pacific]]
| Year = 1995
| Session = 19th
| Link = http://whc.unesco.org/en/list/737
}}
{{Infobox Korean name
|title=Korean name
|color=#eee
|hangul=해인사
|hanja={{linktext|海|印|寺}}
|mr=Haeinsa
|rr=Haeinsa
}}
{{coord|35|48|N|128|6|E|display=title}}
'''Haeinsa''' (해인사, 海印寺: Temple of Reflection on a Smooth Sea) is a head temple of the [[Jogye Order]] (대한불교조계종, 大韓佛敎曹溪宗) of [[Korean Buddhism]] in the [[Gayasan (Gyeongsangnam-do)|Gaya Mountain]]s (가야산, 伽倻山), [[South Gyeongsang]] Province [[South Korea]]. Haeinsa is most notable for being the home of the ''[[Tripitaka Koreana]],'' the whole of the Buddhist Scriptures carved onto 81,350 wooden printing blocks, which it has housed since 1398.<ref name="orientalarchitecture.com">[http://www.orientalarchitecture.com/ Asian Historical Architecture: a Photographic Survey]</ref>

Haeinsa is one of the [[Three Jewel Temples of Korea]], and represents Dharma or the Buddha’s teachings. It is still an active [[Korean Buddhism#Seon|Seon]] (선, 禪) practice center in modern times, and was the home temple of the influential Rev. [[Seongcheol]] (성철, 性徹) , who died in 1993.

==History==
The temple was first built in 802. Legend says that two Korean monks returned from China, Suneung and Ijeong, and healed [[Aejang of Silla|King Aejang]] (애장왕, 哀莊王) wife's of her illness. In gratitude of the [[Gautama Buddha|Buddha]]'s mercy, the king ordered the construction of the temple.<ref name="orientalarchitecture.com" /> Another account, by Choe Chi-Won in 900 states that Suneung and his disciple Ijeong, gained the support of a queen dowager who converted to Buddhism and then helped to finance the construction of the temple.

The temple complex was renovated in the 10th century, 1488, 1622, and 1644. Hirang, the temple abbot enjoyed the patronage of [[Taejo of Goryeo]] during that king’s reign. Haeinsa was burned down in a fire in 1817 and was rebuilt in 1818.<ref name="orientalarchitecture.com" /> Another renovation in 1964 uncovered a royal robe of [[Gwanghaegun of Joseon|King Gwanghaegun]], who was responsible for the 1622 renovation, and an inscription on a ridge beam.

The main hall, Daejeokkwangjeon (대적광전, 大寂光殿: Hall of Great Silence and Light), is unusual because it is dedicated to [[Vairocana]] where most other Korean temples house Seokgamoni in their main halls.

The Temple of Haeinsa and the Depositories for the "Tripitaka Koreana" Woodblocks, were added to the [[UNESCO]] [[World Heritage List]] in 1995. The UNESCO committee noted that the buildings housing the Tripitaka Koreana are unique because no other historical structure was specifically dedicated to the preservation of artifacts and the techniques used were particularly ingenious.<ref>[http://whc.unesco.org/archive/repcom95.htm#737 WH Committee: Report of 19th Session, Berlin 1995]</ref>

The temple also holds several official treasures including a realistic wooden carving of a monk and interesting Buddhist paintings, stone pagodas, and lanterns.

==Janggyeong Panjeon (National Treasure No.52)==
[[Image:Korea-Haeinsa-Tripitaka Koreana-01.jpg|thumb|left|Tripitaka Koreana woodblocks at Haeinsa Temple]]
The storage halls known as the Janggyeong Panjeon complex are the depository for the [[Tripitaka Koreana]] woodblocks at Haeinsa and were also designated by the Korean government as a [[National treasures of Korea|national treasure of Korea]] on December 20, 1962. They are some of the largest wooden storage facilities in the world.<ref>http://whc.unesco.org/archive/advisory_body_evaluation/737.pdf</ref> Remarkably, the halls were untouched during the [[Japanese invasions of Korea (1592–1598)|Japanese invasion of Korea]] and were spared from the 1818 fire that burned most of the temple complex down. All told, the storage halls have survived seven serious fires and one near-bombing during the [[Korean War]] when a pilot disobeyed orders because he remembered that the temple held priceless treasures.

Janggyeong Panjeon complex is the oldest part of the temple and houses the 81,258 wooden printing blocks from the [[Tripitaka Koreana]]. Although the exact construction date of the hall that houses the Tripitaka Koreana is uncertain, it is believed that [[Sejo of Joseon|King Sejo]] expanded and renovated it in 1457. The complex is made up of four halls arranged in a rectangle and the style is very plain because of its use as a storage facility. The northern hall is called Beopbojeon (Hall of Dharma) and the southern hall is called Sudarajang (Hall of Sutras). These two main halls are 60.44 meters in length, 8.73 meters in width, and 7.8 meters in height. Both have fifteen rooms with two adjoining rooms. Additionally, there are two small halls on the east and west which house two small libraries.

[[File:Korea-Haeinsa Tripitaka Koreana woodblock 2770-06a.jpg|thumb|right|Copy of a Tripitaka Koreana woodblock used to allow visitors to make an inked print of the woodblock on the Haeinsa complex grounds. See: for [[:File:Prajnyaapaaramitaa Hridaya.png|image of woodblock print.]].]]

Several ingenious preservation techniques are utilized to preserve the wooden printing blocks. The architects also utilized nature to help preserve the Tripitaka. The storage complex was built at the highest point of the temple and is 655 meters above sea level. Janggyeong Panjeon faces southwest to avoid damp southeasterly winds from the valley below and is blocked from the cold north wind by mountain peaks. Different sized windows on the north and south sides of both main halls are used for ventilation, utilizing principles of hydrodynamics. The windows were installed in every hall to maximize ventilation and regulate temperature. The clay floors were filled with charcoal, calcium oxide, salt, lime, and sand, which reduce humidity when it rains by absorbing excess moisture which is then retained during the dry winter months. The roof is also made with clay and the bracketing and wood rafters prevent sudden changes in temperature. Additionally, no part of the complex is exposed to sun. Apparently, animals, insects, and birds avoid the complex but the reason for this is unknown. These sophisticated preservation measures are widely credited as the reason the woodblocks have survived in such fantastic condition to this day.

In 1970, a modern storage complex was built utilizing modern preservation techniques but when test woodblocks were found to have mildewed, the intended move was canceled and the woodblocks remained at Haeinsa.

==Gallery==
<gallery>
Image:Korea-Haeinsa-02.jpg
Image:Korea-Haeinsa-04.jpg
Image:Korea-Haeinsa-12.jpg
Image:Korea-Haeinsa-08.jpg
Image:Haeinsa-monastery-pond-of-reflection.jpg
</gallery>

==See also==
* [[Korean Buddhist temples]]
* [[Korean Buddhism]]
* [[National treasures of Korea]]

==References==
{{reflist}}

== External links ==
{{Commons}}
*[http://www.orientalarchitecture.com/koreasouth/ruralgyeongsang/haeinsa.php Asian Historical Architecture: Haeinsa]
*[http://www.ocp.go.kr/english/treasure/dom_hae.html South Korean Cultural Properties Administration page for Haeinsa and ''Tripitaka Koreana'']
*[http://www.acmuller.net/ddb/search-ddb3.html Digital Dictionary of Buddhism] (log in as "guest")
*[http://whc.unesco.org/pg.cfm?cid=31&id_site=737 UNESCO: Haeinsa Temple Janggyeong Panjeon]
*[http://www.cha.go.kr/english/search_plaza/ECulresult_Db_View.jsp?VdkVgwKey=11,00520000,38 Cultural Heritage: Haeinsa Janggyeong Panjeon]
*[http://english.visitkorea.or.kr/enu/CU/CU_EN_8_5_5_4.jsp Haeinsa Temple : Official Site of Korea Tourism Org]

{{Three Jewel Temples of Korea}}
{{World Heritage Sites in the Republic of Korea}}
{{Buddhism topics}}

[[Category:802 establishments]]
[[Category:Buddhist temples of the Jogye Order]]
[[Category:Religious organizations established in the 9th century]]
[[Category:Buddhist temples in South Korea]]
[[Category:Gyeongsangnam-do]]
[[Category:National Treasures of South Korea]]
[[Category:World Heritage Sites in South Korea]]

[[cs:Heinsa]]
[[es:Templo de Haeinsa]]
[[fa:معبد هائینسا]]
[[fr:Haeinsa Janggyeong Panjeon]]
[[hr:Haeinsa]]
[[ko:해인사]]
[[hr:Haeinsa]]
[[id:Haeinsa]]
[[it:Tempio di Haeinsa]]
[[ka:ხეინსა]]
[[nl:Haeinsatempel Janggyeong Panjeon]]
[[ja:海印寺大蔵経板殿]]
[[no:Haeinsa]]
[[pl:Haein sa]]
[[pt:Templo de Haeinsa]]
[[ru:Хэинса]]
[[sv:Haeinsa]]
[[th:วัดแฮอินซา]]
[[vi:Haeinsa]]
[[zh:海印寺]]

Ichan Qalʼа

2011-06-04T21:02:09Z

Prof saxx: /* External links */ hr link

{{Infobox World Heritage Site
|Name = Itchan Kala
|Image = [[Image:KhivaWalls.jpg|300px|center]]
|imagecaption= City walls of khiva
|State Party = {{flag|Uzbekistan}}
|Type = Cultural
|Criteria = iii, iv, v
|ID = 543
|Link =
|Region = [[List of World Heritage Sites in Asia and Australasia|Asia-Pacific]]
|Coordinates =
|Year = 2001
|Session = 25
|Extension =
|Danger =
}}
'''Itchan Kala''' ({{lang-fa|ایچان قلعه}}) is the walled inner [[town]] of the city of [[Khiva]], [[Uzbekistan]]. Since 1990, it has been protected as the [[World Heritage Site]].

The old town retains more than 50 historic monuments and 250 old houses, dating primarily from the eighteenth or nineteenth centuries. Djuma Mosque, for instance, was established in the tenth century and rebuilt from 1788 to 1789, although its celebrated [[hypostyle]] hall still retains 112 columns taken from ancient structures.

The most spectacular features of Itchan Kala are its crenellated brick walls and four gates at each side of the rectangular fortress. Although the foundations are believed to have been laid in the tenth century, present-day 10-meters-high walls were erected mostly in the late seventeenth century and later repaired.

==Gallery==
<gallery>
Image:KhivaWestGate.jpg|West gate
Image:KhivaStreet.jpg|A street in the Old City
Image:KhivaSayidAlauddin.jpg|Inside the Mausoleum of Sayid Alauddin
</gallery>

== External links ==
{{Commons category|Itchan Kala}}
*[http://whc.unesco.org/en/list/543 Itchan Kala - UNESCO World Heritage Centre]

{{coord|41.378|N|60.364|E|display=title|source:eswiki}}

[[Category:Archaeological sites in Uzbekistan]]
[[Category:World Heritage Sites in Uzbekistan]]

[[cs:Ičan Kala]]
[[de:Ichan-Qal’a]]
[[es:Itchan Kala]]
[[fr:Itchan Kala]]
[[hr:Ičan Kala]]
[[it:Itchan Kala]]
[[he:איצ'אן קלה]]
[[ka:იჩან-ყალა]]
[[lt:Ičan Kala]]
[[nl:Itsjan Kala]]
[[ja:イチャン・カラ]]
[[pl:Itchan Kala]]
[[pt:Itchan Kala]]
[[ru:Ичан-Кала]]
[[sv:Itchan Kala]]

Architektur der Renaissance

2011-05-28T13:41:22Z

Prof saxx: /* External links */ hr link

[[Image:Tempietto05.jpg|thumb|240px|[[Tempietto]] di San Pietro in Montorio, Rome, 1502, by Bramante. This small temple marks the place where [[St Peter]] was put to death.]]
[[File:4578 - Roma - Fori - Tempio di Vesta - Foto Giovanni Dall'Orto - 17-Mar-2008.jpg|thumb|240px|[[Temple of Vesta]], [[Rome]], 205 AD. As the most important temple of Ancient Rome, it became the model for Bramante's [[Tempietto]]]]
'''Renaissance architecture''' is the architecture of the period between the early 15th and early 17th centuries in different regions of Europe, demonstrating a conscious revival and development of certain elements of [[Ancient Greece|ancient Greek]] and [[Ancient Rome|Roman]] thought and material culture. Stylistically, Renaissance architecture followed [[Gothic architecture]] and was succeeded by [[Baroque architecture]]. Developed first in [[Florence]], with [[Filippo Brunelleschi]] as one of its innovators, the Renaissance style quickly spread to other Italian cities. The style was carried to France, Germany, England, Russia and other parts of Europe at different dates and with varying degrees of impact.

The Renaissance style places emphasis on [[symmetry]], [[proportion (architecture)|proportion]], geometry and the regularity of parts as they are demonstrated in the architecture of [[classical antiquity]] and in particular [[Roman architecture|ancient Roman architecture]], of which many examples remained. Orderly arrangements of [[column]]s, [[pilaster]]s and [[lintel (architecture)|lintels]], as well as the use of semicircular arches, hemispherical [[dome]]s, [[Niche (architecture)|niches]] and [[aedicule]]s replaced the more complex proportional systems and irregular profiles of [[Gothic architecture|medieval]] buildings.

==Historiography==
The word "Renaissance" derived from the term ''"la rinascita"'' ,which means rebirth, first appeared in [[Giorgio Vasari]]'s ''[[Vite de' più eccellenti architetti, pittori, et scultori Italiani]]'' (The Lives of the Artists, 1550–68).

Although the term [[Renaissance]] was used first by the French historian [[Jules Michelet]], it was given its more lasting definition from the Swiss historian [[Jacob Burckhardt]], whose book, ''Die Kultur der Renaissance in Italien'' 1860,<ref>The Civilization of the Renaissance in Italy, 1860, English translation, by SGC Middlemore, in 2 vols., London, 1878)</ref> was influential in the development of the modern interpretation of the Italian Renaissance. The folio of measured drawings ''Édifices de Rome moderne; ou, Recueil des palais, maisons, églises, couvents et autres monuments'' (The Buildings of Modern Rome), first published in 1840 by [[Paul Letarouilly]], also played an important part in the revival of interest in this period.<ref>[[Erwin Panofsky]], ''Renaissance and Renascences in Western Art'', (New York: Harper and Row, 1960)</ref> The Renaissance style was recognized by contemporaries in the term ''"all'antica"'', or "in the ancient manner" (of the Romans)..

==Principal phases==
{{Renaissance}}
Historians often divide the Renaissance in Italy into three phases.<ref>Some architectural histories eg. Sir [[Banister Fletcher]], include Baroque as a phase of Renaissance architecture. Because of its extent, diversity and deviation from the Classical it is not included here and is the subject of a main article.</ref> Whereas art historians might talk of an "Early Renaissance" period, in which they include developments in 14th century painting and sculpture, this is usually not the case in architectural history. The bleak economic conditions of the late 14th century did not produce buildings that are considered to be part of the Renaissance. As a result, the word "Renaissance" among architectural historians usually applies to the period 1400 to ca. 1525, or later in the case of non-Italian Renaissances.

Historians often use the following designations:
* Renaissance (ca. 1400–1500); also known as the [[Quattrocento]]<ref>The Italian translates literally to "fourteen-hundred" and coincides with the English "fifteenth century".</ref> and sometimes Early Renaissance<ref>The ''Early Renaissance'' in architecture is most applicable to developments in Venice, where there was a more fluid development between medieval and Renaissance styles than in Florence. See: John McAndrew ''Venetian Architecture of the Early Renaissance'' (Cambridge: The MIT Press, 1980).</ref>
* [[High Renaissance]] (ca.1500–1525)
* [[Mannerism]] (ca. 1520–1600)

'''Quattrocento''' 
In the ''Quattrocento'', concepts of architectural order were explored and rules were formulated. (See- Characteristics of Renaissance Architecture, below.) The study of classical antiquity led in particular to the adoption of Classical detail and ornamentation.

Space, as an element of architecture, was utilised differently from the way it had been in the [[Middle Ages]]. Space was organised by proportional logic, its form and rhythm subject to geometry, rather than being created by intuition as in Medieval buildings. The prime example of this is the [[Basilica di San Lorenzo di Firenze|Basilica di San Lorenzo]] in [[Florence]] by [[Filippo Brunelleschi]] (1377–1446).<ref>Howard Saalman. ''Filippo Brunelleschi: The Buildings''. (London: Zwemmer, 1993).</ref>

'''High Renaissance''' 
During the ''[[High Renaissance]]'', concepts derived from classical antiquity were developed and used with greater surety. The most representative architect is [[Donato Bramante|Bramante]] (1444–1514) who expanded the applicability of classical architecture to contemporary buildings. His [[San Pietro in Montorio]] (1503) was directly inspired by circular [[Roman temple]]s. He was, however, hardly a slave to the classical forms and it was his style that was to dominate Italian architecture in the 16th century.<ref>Arnaldo Bruschi. ''Bramante'' (London: Thames and Hudson, 1977).</ref>

'''Mannerism''' 
During the ''Mannerist'' period, architects experimented with using architectural forms to emphasize solid and spatial relationships. The Renaissance ideal of harmony gave way to freer and more imaginative rhythms. The best known architect associated with the Mannerist style was [[Michelangelo]] (1475–1564), who is credited with inventing the [[giant order]], a large pilaster that stretches from the bottom to the top of a façade.<ref>{{Citation | title= Pilaster Play|author= [[Mark Jarzombek]]| journal= Thresholds | url= http://web.mit.edu/mmj4/www/downloads/thresholds28.pdf | volume= 28 (Winter 2005)| pages=34–41}}</ref> He used this in his design for the [[Campidoglio]] in Rome.

Prior to the 20th century, the term ''Mannerism'' had negative connotations, but it is now used to describe the historical period in more general non-judgemental terms.<ref>Arnold Hauser. ''Mannerism: The Crisis of the Renaissance and the Origins of Modern Art''. (Cambridge: Harvard University Press,1965).</ref>

'''From Renaissance to Baroque''' 
{{main|Baroque architecture}}
As the new style of architecture spread out from Italy, most other European countries developed a sort of proto-Renaissance style, before the construction of fully formulated Renaissance buildings. Each country in turn then grafted its own architectural traditions to the new style, so that Renaissance buildings across Europe are diversified by region.

Within Italy the evolution of Renaissance architecture into Mannerism, with widely diverging tendencies in the work of Michelangelo and Giulio Romano and Andrea Palladio, led to the Baroque style in which the same architectural vocabulary was used for very different rhetoric.

Outside Italy, [[Baroque architecture]] was more widespread and fully developed than the Renaissance style, with significant buildings as far afield as [[Mexico]]<ref>[[Cathedral of Chihuahua]], 1725–1826</ref> and the [[Philippines]].<ref>[[Basilica Minore del Santo Niño]], present structure 1735–39</ref>

== Characteristics of Renaissance architecture ==
[[Image:SaintPierreRaphael.JPG|thumb|left|upright|Raphael's unused plan for St. Peter's Basilica]]
The obvious distinguishing features of Classical Roman architecture were adopted by Renaissance architects. However, the forms and purposes of buildings had changed over time, as had the structure of cities. Among the earliest buildings of the reborn Classicism were churches of a type that the Romans had never constructed. Neither were there models for the type of large city dwellings required by wealthy merchants of the 15th century. Conversely, there was no call for enormous sporting fixtures and public bath houses such as the Romans had built. The ancient orders were analysed and reconstructed to serve new purposes.<ref>The list of characteristics below is expanded from a list based on [[Banister Fletcher]]. See below</ref>

'''Plan'''

The plans of Renaissance buildings have a square, symmetrical appearance in which proportions are usually based on a module. Within a church the module is often the width of an aisle. The need to integrate the design of the plan with the façade was introduced as an issue in the work of [[Filippo Brunelleschi]], but he was never able to carry this aspect of his work into fruition. The first building to demonstrate this was [[Basilica di Sant'Andrea di Mantova|St. Andrea]] in Mantua by [[Leone Battista Alberti|Alberti]]. The development of the plan in secular architecture was to take place in the 16th century and culminated with the work of [[Palladio]].
[[Image:Sant agostino.JPG|thumb|Sant'Agostino, Rome, Giacomo di Pietrasanta, 1483]]

'''Façade'''

[[Façade]]s are symmetrical around their vertical axis. Church façades are generally surmounted by a pediment and organized by a system of pilasters, arches and entablatures. The columns and windows show a progression towards the center. One of the first true Renaissance façades was the Cathedral of [[Pienza]] (1459–62), which has been attributed to the Florentine architect Bernardo Gambarelli (known as [[Rossellino]]) with [[Leone Battista Alberti|Alberti]] perhaps having some responsibility in its design as well.

Domestic buildings are often surmounted by a [[cornice]]. There is a regular repetition of openings on each floor, and the centrally placed door is marked by a feature such as a balcony, or rusticated surround. An early and much copied prototype was the façade for the [[Palazzo Rucellai]] (1446 and 1451) in Florence with its three registers of [[pilasters]]
[[Image:Classical orders from the Encyclopedie.png|thumb|left|Classical Orders, engraving from the ''Encyclopédie vol. 18.'' 18th century.]]

'''Columns and Pilasters'''

The Roman orders of columns are used:- Tuscan, Doric, Ionic, Corinthian and Composite. The orders can either be structural, supporting an arcade or architrave, or purely decorative, set against a wall in the form of pilasters. During the Renaissance, architects aimed to use columns, pilasters, and [[entablatures]] as an integrated system. One of the first buildings to use pilasters as an integrated system was in the [[Sagrestia Vecchia|Old Sacristy]] (1421–1440) by Brunelleschi.

'''Arches'''

Arches are semi-circular or (in the Mannerist style) segmental. Arches are often used in arcades, supported on piers or columns with capitals. There may be a section of entablature between the capital and the springing of the arch. Alberti was one of the first to use the arch on a monumental scale at the [[Basilica di Sant'Andrea di Mantova|St. Andrea]] in Mantua.

'''Vaults'''

Vaults do not have ribs. They are semi-circular or segmental and on a square plan, unlike the Gothic vault which is frequently rectangular. The [[barrel vault]], is returned to architectural vocabulary as at the [[Basilica di Sant'Andrea di Mantova|St. Andrea]] in Mantua.

'''Domes'''
[[Image:StPetersDomePD.jpg|thumb|The Dome of St Peter's Basilica, Rome. photo- Wolgang Stuck, 2004]]
The dome is used frequently, both as a very large structural feature that is visible from the exterior, and also as a means of roofing smaller spaces where they are only visible internally. Domes had been used only rarely in the Middle Ages, but after the success of the dome in Brunelleschi’s design for the [[Basilica di Santa Maria del Fiore]] and its use in Bramante’s plan for [[St. Peter's Basilica]] (1506) in Rome, the dome became an indispensable element in church architecture and later even for secular architecture, such as Palladio's [[Villa Rotonda]].<ref>A major use of this feature is great dome of the [[US Capitol Building]] (begun 1856) in [[Washington DC]] and all the subsequent State Capitals buildings in the [[Renaissance Revival]] style.</ref>

'''Ceilings'''

Roofs are fitted with flat or coffered ceilings. They are not left open as in Medieval architecture. They are frequently painted or decorated.

'''Doors'''

Doors usually have square lintels. They may be set within an arch or surmounted by a triangular or segmental pediment.
Openings that do not have doors are usually arched and frequently have a large or decorative keystone.

'''Windows'''

Windows may be paired and set within a semi-circular arch. They may have square lintels and triangular or segmental pediments, which are often used alternately. Emblematic in this respect is the [[Palazzo Farnese]] in Rome, begun in 1517.
[[Image:Palazzo Strozzi cortile.JPG|thumb|left|Courtyard of Palazzo Strozzi, Florence]]
In the Mannerist period the “Palladian” arch was employed, using a motif of a high semi-circular topped opening flanked with two lower square-topped openings. Windows are used to bring light into the building and in domestic architecture, to give views. Stained glass, although sometimes present, is not a feature.

'''Walls'''

External walls are generally of highly finished [[ashlar]] masonry, laid in straight courses. The corners of buildings are often emphasised by rusticated [[quoin (architecture)|quoins]]. Basements and ground floors were often rusticated, as modeled on the [[Palazzo Medici Riccardi]] (1444–1460) in Florence. Internal walls are smoothly plastered and surfaced with white-chalk paint. For more formal spaces, internal surfaces are decorated with frescoes.

'''Details'''

Courses, mouldings and all decorative details are carved with great precision. Studying and mastering the details of the ancient Romans was one of the important aspects of Renaissance theory. The different orders each required different sets of details. Some architects were stricter in their use of classical details than others, but there was also a good deal of innovation in solving problems, especially at corners. Moldings stand out around doors and windows rather than being recessed, as in Gothic Architecture. Sculptured figures may be set in niches or placed on plinths. They are not integral to the building as in Medieval architecture.<ref name=BF>[[Banister Fletcher]], ''History of Architecture on the Comparative Method''(first published 1896, current edition 2001, Elsevier Science & Technology ISBN 0750622679).</ref>

== Influences on the development of Renaissance architecture in Italy ==
{{Main|Italian Renaissance}}
Italy of the 15th century, and the city of Florence in particular, was home to the Renaissance. It is in Florence that the new architectural style had its beginning, not slowly evolving in the way that [[Gothic Architecture|Gothic]] grew out of [[Romanesque architecture|Romanesque]], but consciously brought to being by particular architects who sought to revive the order of a past "[[Golden Age]]". The scholarly approach to the architecture of the ancient coincided with the general revival of learning. A number of factors were influential in bringing this about.

[[Image:Baptisteriumganz.jpg|thumb|left|The Romanesque Baptistery of Florence was the object of Brunelleschi's studies of perspective]]

'''Architectural'''

Italian architects had always preferred forms that were clearly defined and structural members that expressed their purpose.<ref name=BF /> Many Tuscan Romanesque buildings demonstrate these characteristics, as seen in the Florence Bapistery and Pisa Cathedral.

Italy had never fully adopted the Gothic style of architecture. Apart from the [[Cathedral of Milan]], largely the work of German builders, few Italian churches show the emphasis on vertically, the clustered shafts, ornate tracery and complex ribbed vaulting that characterise [[Gothic architecture|Gothic]] in other parts of Europe.<ref name=BF />

The presence, particularly in Rome, of ancient architectural remains showing the ordered [[Classical style]] provided an inspiration to artists at a time when philosophy was also turning towards the Classical.<ref name=BF />

'''Political'''

In the 15th century, [[Florence]], [[Venice]] and [[Naples]] extended their power through much of the area that surrounded them, making the movement of artists possible. This enabled Florence to have significant artistic influence in [[Milan]], and through Milan, [[France]].

In 1377, the return of the Pope from [[Avignon]] and re-establishment of the [[Papal court]] in Rome, brought wealth and importance to that city, as well as a renewal in the importance of the Pope in Italy, which was further strengthened by the [[Council of Constance]] in 1417. Successive Popes, especially [[Julius II]], 1503–13, sought to extend the Pope’s [[Papal states|temporal power]] throughout Italy.<ref name=A.M>Andrew Martindale, ''Man and the Renaissance'', 1966, Paul Hamlyn, ISBN unknown</ref>

'''Commercial'''

In the early Renaissance, [[Venice]] controlled sea trade over goods from the East. The large towns of [[Northern Italy]] were prosperous through trade with the rest of Europe, [[Genoa]] providing a seaport for the goods of France and Spain; [[Milan]] and [[Turin]] being centers of overland trade, and maintaining substantial metalworking industries.
Trade brought wool from England to Florence, ideally located on the river for the production of fine cloth, the industry on which its wealth was founded. By dominating [[Pisa]], Florence gained a seaport, and also maintained dominance of Genoa.
In this commercial climate, one family in particular turned their attention from trade to the lucrative business of money-lending. The [[Medici]] became the chief bankers to the princes of Europe, becoming virtually princes themselves as they did so, by reason of both wealth and influence.
Along the trade routes, and thus offered some protection by commercial interest, moved not only goods but also artists, scientists and philosophers.<ref name=A.M />

[[Image:Melozzo da Forlì 001.jpg|thumb|Pope Sixtus IV, 1477, builder of the Sistine Chapel. Fresco by [[Melozzo da Forlì]] in the [[Vatican Palace]].]]

'''Religious'''

The return of the Pope from Avignon in 1377 and the resultant new emphasis on Rome as the center of Christian spirituality, brought about a boom in the building of churches in Rome such as had not taken place for nearly a thousand years. This commenced in the mid 15th century and gained momentum in the 16th century, reaching its peak in the Baroque period. The construction of the [[Sistine Chapel]] with its uniquely important decorations and the entire rebuilding of St Peter's, one of Christendom's most significant churches, was part of this process.<ref name= I.R.>Ilan Rachum, ''The Renaissance, an Illustrated Encyclopedia'', 1979, Octopus, ISBN 0706408578</ref>

In wealthy republican Florence, the impetus for church-building was more civic than spiritual. The unfinished state of the enormous cathedral dedicated to the [[Blessed Virgin Mary]] did no honour to the city under her patronage. However, as the technology and finance were found to complete it, the rising dome did credit not only to the Blessed Virgin, its architect and the Church but also the Signoria, the Guilds and the sectors of the city from which the manpower to construct it was drawn. The dome inspired further religious works in Florence.

[[Image:Zaccaria in the temple by dghirlandaio.jpg|thumb|left|Four Humanist philosophers under the patronage of the Medici: [[Marsilio Ficino]], [[Cristoforo Landino]], [[Angelo Poliziano]] and [[Demetrius Chalcondyles]]. Fresco by [[Domenico Ghirlandaio]].]]
'''Philosophic'''

The development of printed books, the rediscovery of ancient writings, the expanding of political and trade contacts and the exploration of the world all increased knowledge and the desire for education.<ref name=BF />

The reading of philosophies that were not based in Christian theology led to the development of [[Humanism]] through which it was clear that while God had established and maintained order in the Universe, it was the role of Man to establish and maintain order in Society.<ref>J.R.Hale, ''Renaissance Europe, 1480–1520'', 1971, Fontana ISBN 0006324355</ref>

'''Civil'''
[[File:Jacopo Pontormo 055.jpg|thumb|[[Cosimo de' Medici the Elder]], head of the Medici Bank, sponsored civic building programs. Posthumous portrait by [[Pontormo]].]]
Through [[Humanism]], civic pride and the promotion of civil peace and order were seen as the marks of citizenship. This led to the building of structures such as Brunelleschi's [[Ospedale degli Innocenti|Hospital of the Innocents]] with its elegant colonnade forming a link between the charitable building and the public square, and the [[Laurentian Library]] where the collection of books established by the Medici family could be consulted by scholars.<ref name= Gardner>[[Helen Gardner (art historian)|Helen Gardner]], ''Art Through the Ages'', 5th edition, Harcourt, Brace and World.</ref>

Some major ecclesiastical building works were also commissioned, not by the church, but by guilds representing the wealth and power of the city. Brunelleschi’s dome at [[Florence Cathedral]], more than any other building belonged to the people of the city because the construction of each of the eight segments was achieved by a different sector of the city.<ref name=BF /><ref name= Gardner />

'''Patronage'''

As in the [[Plato|Platonic academy]] of [[Athens]], it was seen by those of Humanist understanding that those people who had the benefit of wealth and education ought to promote the pursuit of learning and the creation of that which was beautiful. To this end, wealthy families—the [[Medici]] of Florence, the [[House of Gonzaga|Gonzaga]] of Mantua, the [[House of Farnese|Farnese]] in Rome, the [[House of Sforza|Sforzas]] in Milan—gathered around them people of learning and talent, promoting the skills and creating employment for the most talented artists and architects of their day.<ref name= Gardner />

'''Architectural Theory'''

During the Renaissance, architecture became not only a question of practice, but also a matter for theoretical discussion. [[Printing]] played a large role in the dissemination of ideas.
*The first treatise on architecture was [[De re aedificatoria]] (English: On the Art of Building) by [[Leon Battista Alberti]] in 1450. It was to some degree dependent on [[Vitruvius]]' [[De architectura]], a manuscript of which was discovered in 1414 in a library in Switzerland. ''De re aedificatoria'' in 1485 became the first printed book on architecture.
*[[Sebastiano Serlio]] (1475 – c. 1554) produced the next important text, the first volume of which appeared in Venice in 1537; it was entitled "Regole generali d'architettura [...]" (or "General Rules of Architecture"). It is known as Serlio's "Fourth Book" since it was the fourth in Serlio's original plan of a treatise in seven books. In all, five books were published.
*In 1570, [[Andrea Palladio]] (1508–1580) published ''[[I quattro libri dell'architettura]]'' ("The Four Books of Architecture") in [[Venice]]. This book was widely printed and responsible to a great degree of spreading the ideas of the Renaissance through Europe. All these books were intended to be read and studied not only by architects, but also by patrons.

==Development of Renaissance architecture in Italy - Early Renaissance==
The leading architects of the Early Renaissance or Quattrocento were [[Brunelleschi]], [[Michelozzo]] and [[Alberti]].

===Brunelleschi===
[[Image:Spedale degli Innocenti.JPG|thumb|right|[[Ospedale degli Innocenti]] in Florence.]]
The person generally credited with bringing about the Renaissance view of architecture is [[Filippo Brunelleschi]], (1377–1446).<ref>Cropplestone, Trewin, ''World Architecture'', 1963, Hamlyn. Page 243</ref> The underlying feature of the work of Brunelleschi was "order".

In the early 15th century, Brunelleschi began to look at the world to see what the rules were that governed one's way of seeing. He observed that the way one sees regular structures such as the [[Battistero di San Giovanni (Florence)|Baptistery of Florence]] and the tiled pavement surrounding it follows a mathematical order—[[linear perspective]].

The buildings remaining among the ruins of ancient Rome appeared to respect a simple mathematical order in the way that Gothic buildings did not. One incontrovertible rule governed all [[Ancient Roman architecture]]—a semi-circular arch is exactly twice as wide as it is high. A fixed proportion with implications of such magnitude occurred nowhere in [[Gothic architecture]]. A Gothic pointed arch could be extended upwards or flattened to any proportion that suited the location. Arches of differing angles frequently occurred within the same structure. No set rules of proportion applied.
[[Image:Firenze.Duomo05.JPG|thumb|left|upright|The dome of [[Duomo of Florence|Basilica di Santa Maria del Fiore]]]]
From the observation of the architecture of Rome came a desire for symmetry and careful proportion in which the form and composition of the building as a whole and all its subsidiary details have fixed relationships, each section in proportion to the next, and the architectural features serving to define exactly what those rules of proportion are.<ref name= W&M>Robert Erich Wolf and Ronald Millen, ''Renaissance and Mannerist Art'', 1968, Harry N. Abrams.</ref> Brunelleschi gained the support of a number of wealthy Florentine patrons, including the Silk Guild and [[Cosimo de' Medici]].

'''Florence Cathedral'''
[[Image:Einblick LH2 San Lorenzo Florenz.jpg|thumb|right|upright|The church of San Lorenzo]]
Brunelleschi's first major architectural commission was for the enormous brick dome which covers the central space that of [[Duomo of Florence|Florence's cathedral]], designed by [[Arnolfo di Cambio]] in the 14th century but left unroofed. While often described as the first building of the Renaissance, Brunelleschi's daring design utilizes the pointed Gothic arch and Gothic ribs. It seems certain, however, that while stylistically Gothic, in keeping with the building it surmounts, the dome is in fact structurally influenced by the great dome of Ancient Rome, which Brunelleschi could hardly have ignored in seeking a solution. This is the dome of the [[Pantheon, Rome|Pantheon]], a circular temple, now a church.

Inside the Pantheon's single-shell concrete dome is coffering which greatly decreases the weight. The vertical partitions of the coffering effectively serve as ribs, although this feature does not dominate visually. At the apex of the Pantheon's dome is an opening, 8 meters across. Brunelleschi was aware that a dome of enormous proportion could in fact be engineered without a keystone. The dome in Florence is supported by the eight large ribs and sixteen more internal ones holding a brick shell, with the bricks arranged in a herringbone manner. Although the techniques employed are different, in practice both domes comprise a thick network of ribs supporting very much lighter and thinner infilling. And both have a large opening at the top.<ref name=BF />

'''San Lorenzo'''
The new architectural philosophy is best demonstrated in the churches of [[Basilica di San Lorenzo di Firenze|San Lorenzo]], and [[Santo Spirito di Firenze|Santo Spirito]] in Florence. Designed by Brunelleschi in about 1425 and 1428 respectively, both have the shape of the [[Latin cross]]. Each has a modular plan, each portion being a multiple of the square bay of the aisle. This same formula controlled also the vertical dimensions. In the case of Santo Spirito, which is entirely regular in plan, transepts and chancel are identical, while the nave is an extended version of these. In 1434 Brunelleschi designed the first Renaissance centrally planned building, [[Santa Maria degli Angeli di Firenze|Santa Maria degli Angeli]] of Florence. It is composed of a central [[octagon]] surrounded by a circuit of eight smaller chapels. From this date onwards numerous churches were built in variations of these designs.<ref>Giovanni Fanelli, ''Brunelleschi'', 1980, Becocci editore Firenze</ref>

===Michelozzo===

[[Image:Palazzo Medici Riccardi.JPG|thumb|right|upright|Palazzo Medici Riccardi by Michelozzo.]]
[[Michelozzo Michelozzi]] (1396–1472), was another architect under the patronage of the [[Medici]] family, his most famous work being the [[Palazzo Medici Riccardi]], which he was commissioned to design for [[Medici|Cosimo de'Medici]] in 1444. A decade later he built the Villa Medici at [[Fiesole]]. Among his other works for Cosimo are the library at the Convent of San Marco, Florence. He went into exile in Venice for a time with his patron. He was one of the first architects to work in the Renaissance style outside Italy, building a palace at [[Dubrovnik]].<ref name= I.R. />

The Palazzo Medici Riccardi is Classical in the details of its pedimented windows and recessed doors, but, unlike the works of Brunelleschi and Alberti, there are no ''[[Classical orders|orders]]'' of columns in evidence. Instead, Michelozzo has respected the Florentine liking for rusticated stone. He has seemingly created three orders out of the three defined rusticated levels, the whole being surmounted by an enormous Roman-style cornice which juts out over the street by 2.5 meters.<ref name=BF />

===Alberti===

[[Leon Battista Alberti]], born in Genoa(1402–1472), was an important Humanist theoretician and designer whose book on architecture ''De re Aedificatoria'' was to have lasting effect. An aspect of [[Humanism]] was an emphasis of the anatomy of nature, in particular the human form, a science first studied by the Ancient Greeks. Humanism made man the measure of things. Alberti perceived the architect as a person with great social responsibilities.<ref name= I.R. />

[[Image:SantAndreaMantua Alberti.jpg|thumb|right|upright|[[Sant'Andrea, Mantua]], the façade. Photo- Frode Inge Helland]]
He designed a number of buildings, but unlike Brunelleschi, he did not see himself as a builder in a practical sense and so left the supervision of the work to others. Miraculously, one of his greatest designs, that of the Church of [[Sant'Andrea in Mantua]], was brought to completion with its character essentially intact. Not so the church of [[San Francesco, Rimini|San Francesco]] in [[Rimini]], a rebuilding of a Gothic structure, which, like Sant'Andrea, was to have a façade reminiscent of a Roman triumphal arch. This was left sadly incomplete.<ref name= I.R. />

Sant'Andrea is an extremely dynamic building both without and within. Its triumphal façade is marked by extreme contrasts. The projection of the order of pilasters that define the architectural elements, but are essentially non-functional, is very shallow. This contrasts with the gaping deeply recessed arch which makes a huge portico before the main door. The size of this arch is in direct contrast to the two low square-topped openings that frame it. The light and shade play dramatically over the surface of the building because of the shallowness of its mouldings and the depth of its porch. In the interior Alberti has dispensed with the traditional nave and aisles. Instead there is a slow and majestic progression of alternating tall arches and low square doorways, repeating the "[[Arch of Constantine|triumphal arch]]" motif of the façade.<ref>Joseph Rykwert, ''Leonis Baptiste Alberti'', Architectural Design, Vol 49 No 5–6, Holland St, London</ref>
[[Image:Santa Maria Novella.jpg|thumb|left|Façade of [[Santa Maria Novella]], 1456–70.]]
Two of Alberti’s best known buildings are in Florence, the [[Palazzo Rucellai]] and at [[Santa Maria Novella]]. For the palace, Alberti applied the classical orders of columns to the façade on the three levels, 1446–51. At Santa Maria Novella he was commissioned to finish the decoration of the façade. He completed the design in 1456 but the work was not finished until 1470.

The lower section of the building had Gothic niches and typical polychrome marble decoration. There was a large ocular window in the end of the nave which had to be taken into account. Alberti simply respected what was already in place, and the Florentine tradition for polychrome that was well established at the [[Baptistery of Florence|Baptistery of San Giovanni]], the most revered building in the city. The decoration, being mainly polychrome marble, is mostly very flat in nature, but a sort of order is established by the regular compartments and the circular motifs which repeat the shape of the round window.<ref name=BF /> For the first time, Alberti linked the lower roofs of the aisles to nave using two large scrolls. These were to become a standard Renaissance device for solving the problem of different roof heights and bridge the space between horizontal and vertical surfaces.<ref name= Pevs>[[Nikolaus Pevsner]], ''An Outline of European Architecture'', Pelican, 1964, ISBN unknown</ref>

==The Spread of the Renaissance in Italy==
[[Image:Venezia - Ospedale - Foto G. Dall'Orto, 2 lug 2006 - 03.jpg|thumb|[[Scuola Grande di San Marco]], [[Venice]].]]
In the 15th century the courts of certain other Italian states became centres for spreading of Renaissance philosophy, art and architecture.

In [[Mantua]] at the court of the [[House of Gonzaga|Gonzaga]], Alberti designed two churches, the [[Sant'Andrea, Mantua|Basilica of Sant'Andrea]] and [[San Sebastiano]].

[[Urbino]] was an important centre with a new [[Palazzo Ducale, Urbino|ducal palace]] being built there. [[Ferrara]], under the [[Este]], was expanded in the late fifteenth century, with several new palaces being built such as the [[Palazzo dei Diamanti]] and [[Palazzo Schifanoia]] for [[Borso d'Este]]. In Milan, under the [[house of Visconti|Visconti]], the [[Certosa di Pavia]] was completed, and then later under the [[Sforza]], the Castello Sforzesco was built.<ref name=BF />

In Venice, [[San Zaccaria]] received its Renaissance façade at the hands of [[Antonio Gambello]] and [[Mauro Codussi]], begun in the 1480s.<ref>Marion Kaminski, ''Art and Architecture of Venice'', 1999, Könemann, ISBN 3829026579</ref> [[Giovanni Maria Falconetto]], the Veronese architect-sculptor, introduced Renaissance architecture to Padua with the Loggia Cornaro in the garden of [[Alvise Cornaro]].

In southern Italy, Renaissance masters were called to Naples by [[Alfonso V of Aragon]] after his conquest of the [[Kingdom of Naples]]. The most notable examples of Renaissance architecture in that city are the [[Cappella Caracciolo]], attributed to Bramante, and the [[Palazzo Orsini di Gravina]], built by [[Gabriele d'Angelo]] between 1513 and 1549.

==High Renaissance==

In the late 15th century and early 16th century architects such as [[Bramante]], [[Antonio da Sangallo the Younger]] and others showed a mastery of the revived style and ability to apply it to buildings such as churches and city palazzo which were quite different from the structures of ancient times. The style became more decorated and ornamental, statuary, domes and [[cupola]]s becoming very evident.
The architectural period is known as the "High Renaissance" and coincides with the age of [[Leonardo da Vinci|Leonardo]], [[Michelangelo]] and [[Raphael]].

===Bramante===
[[Image:Milano Grazie 1.JPG|thumb|Santa Maria delle Grazie, Milan.]]
[[Donato Bramante]], (1444–1514), was born in [[Urbino]] and turned from painting to architecture, found his first important patronage under [[Ludovico Sforza]], Duke of Milan, for whom he produced a number of buildings over 20 years. After the fall of [[Milan]] to the French in 1499, Bramante travelled to Rome where he achieved great success under papal patronage.<ref name= I.R. />

Bramante’s finest architectural achievement in Milan is his addition of crossing and choir to the abbey church of [[Santa Maria delle Grazie (Milan)]]. This is a brick structure, the form of which owes much to the Northern Italian tradition of square domed [[Baptistery|baptisteries]]. The new building is almost centrally planned, except that, because of the site, the chancel extends further than the transept arms. The hemispherical dome, of approximately 20 metres across, rises up hidden inside an octagonal [[drum (architecture)|drum]] pierced at the upper level with arched classical openings. The whole exterior has delineated details decorated with the local [[terracotta]] ornamentation.

In Rome Bramante created what has been described as "a perfect architectural gem",<ref name=BF /> the [[Tempietto]] in the Cloister of [[San Pietro in Montorio]]. This small circular temple marks the spot where St Peter was martyred and is thus the most sacred site in Rome. The building adapts the style apparent in the remains of the [[Temple of Vesta]], the most sacred site of Ancient Rome. It is enclosed by and in spatial contrast with the cloister which surrounds it. As approached from the cloister, as in the picture above, it is seen framed by an arch and columns, the shape of which are echoed in its free-standing form.

Bramante went on to work at the [[Vatican City|Vatican]] where he designed the impressive Cortili of St. Damaso and of the [[Cortile del Belvedere|Belvedere]]. In 1506 Bramante’s design for [[Pope Julius II|Pope Julius II’s]] rebuilding of [[St. Peter’s Basilica]] was selected, and the foundation stone laid. After Bramante’s death and many changes of plan, [[Michelangelo]], as chief architect, reverted to something closer to Bramante’s original proposal. See below- Michelangelo.<ref name=BF />

===Sangallo===
[[Image:Palais Farnese.jpg|thumb|left|The [[Palazzo Farnese]], [[Rome]] (1534–1545). Designed by [[Antonio da Sangallo the Younger|Sangallo]] and [[Michelangelo]].]]
[[Antonio da Sangallo the Younger]], (1485–1546), was one of a family of military engineers. His uncle, [[Giuliano da Sangallo]] was one of those who submitted a plan for the rebuilding of St Peter’s and was briefly a co-director of the project, with [[Raphael]].<ref name= I.R. />

Antonio da Sangallo also submitted a plan for St Peter’s and became the chief architect after the death of Raphael, to be succeeded himself by Michelangelo.

His fame does not rest upon his association with St Peter’s but in his building of the [[Farnese Palace]], “the grandest palace of this period”, started in 1530.<ref name=BF /> The impression of grandness lies in part in its sheer size, (56 m long by 29.5 meters high) and in its lofty location overlooking a broad piazza. It is also a building of beautiful proportion, unusual for such a large and luxurious house of the date in having been built principally of stuccoed brick, rather than of stone. Against the smooth pink-washed walls the stone quoins of the corners, the massive rusticated portal and the stately repetition of finely detailed windows give a powerful effect, setting a new standard of elegance in palace-building. The upper of the three equally sized floors was added by Michelangelo. It is probably just as well that this impressive building is of brick; the travertine for its architectural details came not from a quarry, but from the [[Colosseum]].<ref name=BF />
{{clr}}

===Raphael===
[[Raphael]], (1483–1520), [[Urbino]], trained under [[Perugino]] in [[Perugia]] before moving to Florence, was for a time the chief architect for [[St. Peter's Basilica|St. Peter’s]], working in conjunction with Antonio Sangallo. He also designed a number of buildings, most of which were finished by others. His single most influential work is the Palazzo Pandolfini in Florence with its two stories of strongly articulated windows of a "[[Aedicula|tabernacle]]" type, each set around with ordered pilasters, cornice and alternate arched and triangular pediments.<ref name=BF />

==Mannerism==
{{main|Mannerism}}
'''Mannerism''' in architecture was marked by widely diverging tendencies in the work of [[Michelangelo]], [[Giulio Romano]], [[Baldassare Peruzzi]] and [[Andrea Palladio]], that led to the [[Baroque architecture|Baroque]] style in which the same architectural vocabulary was used for very different rhetoric.
[[Image:Palazzo Massimo.jpg|thumb|left|[[Palazzo Massimo alle Colonne]].]]
===Peruzzi===

[[Baldassare Peruzzi]], (1481–1536), was an architect born in [[Siena]], but working in Rome, whose work bridges the High Renaissance and the Mannerist.
His [[Villa Farnesina]] of 1509 is a very regular monumental cube of two equal stories, the bays being strongly articulated by orders of pilasters. The building is unusual for its frescoed walls.<ref name=BF />

Peruzzi’s most famous work is the [[Palazzo Massimo alle Colonne]] in Rome. The unusual features of this building are that its façade curves gently around a curving street. It has in its ground floor a dark central portico running parallel to the street, but as a semi enclosed space, rather than an open loggia. Above this rise three undifferentiated floors, the upper two with identical small horizontal windows in thin flat frames which contrast strangely with the deep porch, which has served, from the time of its construction, as a refuge to the city’s poor.<ref name= Pevs />

[[Image:Palazzo Te Mantova 1.jpg|thumb|Palazzo Te]]

===Giulio Romano===
[[Giulio Romano]] (1499–1546), was a pupil of Raphael, assisting him on various works for the Vatican. Romano was also a highly inventive designer, working for [[Frederick II, Duke of Mantua|Federico II Gonzaga]] at Mantua on the [[Palazzo Te]], (1524–1534), a project which combined his skills as architect, sculptor and painter. In this work, combining garden [[grotto]]es and extensive frescoes, he uses [[illusion|illusionistic effects]], surprising combination of architectural form and texture and the frequent use of features that seem somewhat disproportionate or out of alignment. The total effect is eerie and disturbing. Ilan Rachum cites Romano as ''“one of the first promoters of Mannerism”''.<ref name= I.R. />

===Michelangelo===
[[Michelangelo Buonarroti]] (1475–1564) was one of the creative giants whose achievements mark the High Renaissance. He excelled in each of the fields of painting, sculpture and architecture and his achievements brought about significant changes in each area. His architectural fame lies chiefly in two buildings: the interiors of the [[Laurentian Library]] and its lobby at the monastery of San Lorenzo in Florence, and the Basilica of St. Peter in Rome.

[[St Peter's Basilica|St Peter's]] was ''"the greatest creation of the Renaissance"'',<ref name=BF /> and a great number of architects contributed their skills to it. But at its completion, there was more of Michelangelo’s design than of any other architect, before or after him.

[[Image:Petersdom von Engelsburg gesehen.jpg|thumb|St. Peter's Basilica]]
'''St. Peter's'''
The plan that was accepted at the laying of the foundation stone in 1506 was that by Bramante. Various changes in plan occurred in the series of architects that succeeded him, but Michelangelo, when he took over the project in 1546, reverted to Bramante’s Greek-cross plan and redesigned the piers, the walls and the dome, giving the lower weight-bearing members massive proportions and eliminating the encircling aisles from the chancel and identical transept arms. [[Helen Gardner (art historian)|Helen Gardner]] says: "Michelangelo, with a few strokes of the pen, converted its snowflake complexity into a massive, cohesive unity."<ref name= Gardner />

Michelangelo’s dome was a masterpiece of design using two masonry shells, one within the other and crowned by a massive lantern supported, as at Florence, on ribs. For the exterior of the building he designed a giant order which defines every external bay, the whole lot being held together by a wide cornice which runs unbroken like a rippling ribbon around the entire building.

There is a wooden model of the dome, showing its outer shell as hemispherical. When Michelangelo died in 1564, the building had reached the height of the drum. The architect who succeeded Michelangelo was [[Giacomo della Porta]]. The dome, as built, has a much steeper projection than the dome of the model. It is generally presumed that it was della Porta who made this change to the design, to lessen the outward thrust. But, in fact it is unknown who it was that made this change, and it equally possible, and in fact a stylistic likelihood that the person who decided upon the more dynamic outline was Michelangelo himself, at some time during the years that he supervised the project.<ref>Pevsner and Gardener suggest that Michelangelo began with the idea of a pointed dome, as in Florence, then in his old age reverted to the lower silhouette, and that della Porta stuck to Michelangelo's original concept. Mignacca, on the other hand, suggests that the pointed dome was Michelangelo's final, and brilliant, solution to the apparent visual tension within the building.</ref>
[[Image:Laurentian Library vestibule.jpg|thumb|left|The vestibule of the Laurentian Library]]
'''Laurentian Library'''

Michelangelo was at his most Mannerist in the design of the vestibule of the [[Laurentian Library]], also built by him to house the [[Cosimo de' Medici|Medici]] collection of books at the convent of [[San Lorenzo, Florence|San Lorenzo]] in Florence, the same San Lorenzo’s at which [[Brunelleschi]] had recast church architecture into a Classical mold and established clear formula for the use of [[Classical orders]] and their various components.

Michelangelo takes all Brunelleschi’s components and bends them to his will. The Library is upstairs. It is a long low building with an ornate wooden ceiling, a matching floor and crowded with corrals finished by his successors to Michelangelo’s design. But it is a light room, the natural lighting streaming through a long row of windows that appear positively crammed between the order of pilasters that march along the wall. The vestibule, on the other hand, is tall, taller than it is wide and is crowded by a large staircase that pours out of the library in what [[Nikolaus Pevsner|Pevsner]] refers to as a “flow of lava”, and bursts in three directions when it meets the balustrade of the landing. It is an intimidating staircase, made all the more so because the rise of the stairs at the center is steeper than at the two sides, fitting only eight steps into the space of nine.

The space is crowded and it is to be expected that the wall spaces would be divided by pilasters of low projection. But Michelangelo has chosen to use paired columns, which, instead of standing out boldly from the wall, he has sunk deep into recesses within the wall itself. In San Lorenzo's church nearby, Brunelleschi used little scrolling console brackets to break the strongly horizontal line of the course above the arcade. Michelangelo has borrowed Brunelleschi’s motifs and stood each pair of sunken columns on a pair of twin console [[Bracket (architecture)|brackets]]. [[Nikolaus Pevsner|Pevsner]] says the ''“Laurenziana… reveals Mannerism in its most sublime architectural form”''.<ref name= Pevs /><ref>Ludwig Goldscheider, ''Michelangelo'', 1964, Phaidon.</ref>
[[Image:Il Gesu.jpg|thumb|left|Il Gesù, designed by Giacomo della Porta.]]

===Giacomo della Porta===

[[Giacomo della Porta]], (c.1533–1602), was famous as the architect who made the dome of St Peter’s Basilica a reality. The change in outline between the dome as it appears in the model and the dome as it was built, has brought about speculation as to whether the changes originated with della Porta or with Michelangelo himself.

Della Porta spent nearly all his working life in Rome, designing villas, palazzi and churches in the Mannerist style. One of his most famous works is the façade of the [[Church of the Gesù]], a project that he inherited from his teacher [[Jacopo Barozzi da Vignola]]. Most characteristics of the original design are maintained, subtly transformed to give more weight to the central section, where della Porta uses, among other motifs, a low triangular pediment overlaid on a segmental one above the main door. The upper storey and its pediment give the impression of compressing the lower one. The center section, like that of Sant'Andrea at Mantua, is based on the Triumphal Arch, but has two clear horizontal divisions like [[Santa Maria Novella]]. See Alberti above. The problem of linking the aisles to the nave is solved using Alberti’s scrolls, in contrast to Vignola’s solution which provided much smaller brackets and four statues to stand above the paired pilasters, visually weighing down the corners of the building. The influence of the design may be seen in Baroque churches throughout Europe.

===Andrea Palladio===
[[Image:La Rotonda.png|thumb|[[Villa Capra La Rotonda]]]]
[[Andrea Palladio]], (1508–80), "the most influential architect of the whole Renaissance"',<ref name= BF /> was, as a stone mason, introduced to Humanism by the poet [[Giangiorgio Trissino]]. His first major architectural commission was the rebuilding of the [[Basilica Palladiana]] at [[Vicenza]], in the [[Veneto]] where he was to work most of his life.<ref name= I.R. />

Palladio was to transform the architectural style of both palaces and churches by taking a different perspective on the notion of Classicism. While the architects of Florence and Rome looked to structures like the [[Colosseum]] and the [[Arch of Constantine]] to provide formulae, Palladio looked to classical temples with their simple peristyle form. When he used the “[[Arch of Constantine|triumphal arch]]” motif of a large arched opening with lower square-topped opening on either side, he invariably applied it on a small scale, such as windows, rather than on a large scale as Alberti used it at Sant’Andrea’s. This Ancient Roman motif<ref>described by the architectural writer [[Sebastiano Serlio]] (1475–1554) in ''Tutte l'opere d'architettura et prospetivaref''</ref> is often referred to as the ''Palladian Arch''.

The best known of Palladio’s domestic buildings is [[Villa Capra]], otherwise known as "la Rotonda", a centrally planned house with a domed central hall and four identical façades, each with a temple-like portico like that of the [[Pantheon, Rome|Pantheon]] in Rome.<ref>Manfred Wundram, Thomas Pape, Paolo Marton, ''Andrea Palladio'', Taschen, ISBN 3822802719</ref> At the [[Villa Cornaro]], the projecting portico of the north façade and recessed loggia of the garden façade are of two [[Classical order|order]]ed stories, the upper forming a [[balcony]].<ref>Branco Mitrovic and Stephen R. Wassell, ''Andrea Palladio: Villa Cornaro in Piombino Dese'' (New York: Acanthus Press, 2006, ISBN 0-926494-36-8</ref>

Like Alberti, della Porta and others, in the designing of a church façade, Palladio was confronted by the problem of visually linking the aisles to the nave while maintaining and defining the structure of the building. Palladio’s solution was entirely different from that employed by della Porta. At the [[church of San Giorgio Maggiore]] in Venice he overlays a tall temple, its columns raised on high plinths, over another low wide temple façade, its columns rising from the basements and its narrow lintel and pilasters appearing behind the giant order of the central nave.<ref name=BF />

==Progression from Early Renaissance through to Baroque==

In Italy, there appears to be a seamless progression from Early Renaissance architecture through the High Renaissance and Mannerist to the Baroque style. Pevsner comments about the vestibule of the Laurentian Library that it "has often been said that the motifs of the walls show Michelangelo as the father of the Baroque".

While continuity may be the case in Italy, it was not necessarily the case elsewhere. The adoption of the Renaissance style of architecture was slower in some areas than in others, as may be seen in England, for example. Indeed, as [[Pope Julius II]] was having the ancient Basilica of St. Peter’s demolished to make way for the new, [[Henry VII of England]] was adding a glorious new chapel in the [[English Gothic architecture|Perpendicular Gothic]] style to [[Westminster Abbey]].

Likewise, the style that was to become known as Baroque evolved in Italy in the early 17th century, at about the time that the first fully Renaissance buildings were constructed at Greenwich and Whitehall in England,<ref>The [[Queen's House, Greenwich]] and the [[Banqueting House, Whitehall]]</ref> after a prolonged period of experimentation with Classical motifs applied to local architectural forms, or conversely, the adoption of Renaissance structural forms in the broadest sense with an absence of the formulae that governed their use. While the English were just discovering what the rules of Classicism were, the Italians were experimenting with methods of breaking them. In England, following the [[English Restoration|Restoration]] of the Monarchy in 1660, the architectural climate changed, and taste moved in the direction of the Baroque. Rather than evolving, as it did in Italy, it arrived, fully fledged.

In a similar way, in many parts of Europe that had few purely classical and ordered buildings like Brunelleschi’s Santo Spirito and Michelozzo’s Medici Riccardi Palace, Baroque architecture appeared almost unheralded, on the heels of a sort of Proto-Renaissance local style.<ref name= Jan>Janson, H.W., Anthony F. Janson (1997). ''History of Art'', New York: Harry N. Abrams, Inc.. ISBN 0810934426.</ref> The spread of the Baroque and its replacement of traditional and more conservative Renaissance architecture was particularly apparent in the building of churches as part of the [[Counter Reformation]].<ref name= Pevs />
{{main|Baroque architecture}}

==Spread of Renaissance architecture beyond Italy==
{{main|Northern Renaissance}}
[[Image:Chambord-wide-2004.jpg|thumb|French Renaissance: [[Château de Chambord]] (1519–39)]]
The 16th century saw the economic and political ascendancy of France and Spain, and then later of Holland, England, Germany and Russia. The result was that these places began to import the Renaissance style as indicators of their new cultural position. This also meant that it was not until about 1500 and later that signs of Renaissance architectural style began to appear outside Italy.

Though Italian architects were highly sought after, such as [[Sebastiano Serlio]] in France, [[Aristotile Fioravanti]] in [[Russia]], and [[Francesco Fiorentino]] in [[Poland]], soon, non-Italians were studying Italian architecture and translating it into their own idiom. These included [[Philibert de l'Orme]] (1510–1570) in France, [[Juan Bautista de Toledo]] (died: 1567) in Spain and [[Inigo Jones]] (1573–1652) in England.<ref name= Jan />

Books or ornament prints with [[engraving|engraved]] illustrations demonstrating plans and ornament were very important in spreading Renaissance styles in Northern Europe, with among the most important authors being [[Androuet du Cerceau]] in France, and [[Hans Vredeman de Vries]] in the Netherlands, with the German [[Wendel Dietterlin]], in his ''Architectura'' of 1593-94, being perhaps the most extreme.

===France===

{{main|French Renaissance architecture}}
During the early years of the 16th century the French were involved in wars in northern Italy, bringing back to France not just the Renaissance art treasures as their war [[booty]], but also stylistic ideas. In the [[Loire Valley]] a wave of building was carried and many Renaissance chateaux appeared at this time, the earliest example being the [[Château d'Amboise]] (c. 1495) in which [[Leonardo da Vinci]] spent his last years. The style became dominant under [[Francis I of France|Francis I]] (See [[Châteaux of the Loire Valley]]).<ref name=BF /><ref name= W&M />

[[Image:Antwerp town hall, 25 april 2007 1.jpg|thumb|left|[[Antwerp City Hall]] (finished in [[1564]])]]
===Netherlands===

{{main|Renaissance in the Netherlands}}
As in painting, Renaissance architecture took some time to reach the Netherlands and did not entirely supplant the Gothic elements. An architect directly influenced by the Italian masters was [[Cornelis Floris de Vriendt]], who designed the [[Antwerp City Hall|city hall of Antwerp]], finished in 1564. The style sometimes known as "Antwerp Mannerism", keeping a similar overall structure to late-Gothic buildings, but with larger windows and much florid decoration and detailing in Renaissance styles, was widely influential across Northern Europe, for example in [[Elizabethan architecture]], and is part of the wider movement of [[Northern Mannerism]].

In the early 17th century [[Dutch Republic]], [[Hendrick de Keyser]] played an important role in developing the '''Amsterdam Renaissance''' style, which has local characteristics including the prevalence of tall narrow town-houses, the "trapgevel" or [[Crow-stepped gable|Dutch gable]] and the employment of decorative triangular pediments over doors and windows in which the apex rises much more steeply than in most other Renaissance architecture, but in keeping with the profile of the gable. Carved stone details are often of low profile, in [[strapwork]] resembling leatherwork, a stylistic feature originating in the [[School of Fontainebleau]]. This feature was exported to England.<ref name=BF /><ref name= W&M />

===England===

[[Image:Harwick Hall 07-04.jpg|thumb|right|English Renaissance: [[Hardwick Hall]] (1590–1597).]]
{{main|Elizabethan architecture|Palladian architecture}}
Renaissance architecture arrived in England during the reign of [[Elizabeth I]], having first spread through the [[Low countries]] where among other features it acquired versions of the [[Crow-stepped gable|Dutch gable]], and [[Flemish people|Flemish]] [[strapwork]] in geometric designs adorning the walls. The new style tended to manifest itself in large square tall houses such as [[Longleat House]].

The first great exponent of Italian Renaissance architecture in England was [[Inigo Jones]] (1573–1652), who had studied architecture in Italy where the influence of Palladio was very strong. Jones returned to England full of enthusiasm for the new movement and immediately began to design such buildings as the [[Queen's House]] at [[Greenwich]] in 1616 and the Banqueting House at [[Whitehall]] three years later. These works, with their clean lines, and symmetry were revolutionary in a country still enamoured with mullion windows, crenellations and turrets.<ref name=BF /><ref>John Summerson, ''Architecture in Britain 1530–1830'', 1977 ed., Pelican, ISBN 0140560033</ref>

[[Image:Fredriksborg palace.jpg|thumb|left|Nordic Renaissance: [[Frederiksborg Palace]] (1602–20)]]

===Scandinavia===

The Renaissance architecture that found its way to Scandinavia was influenced by the Flemish architecture, and included high gables and a castle air as demonstrated in the architecture of Frederiksborg Palace. Consequently much of the Neo-Renaissance to be found in the Scandinavian countries is derived from this source.

In Denmark, Renaissance architecture thrived during the reigns of Frederick II and especially Christian IV. Inspired by the French castles of the times, Flemish architects designed masterpieces such as Kronborg Castle in Helsingør and Frederiksborg Palace in Hillerod. Frederiksborg Palace (1602–1620) in Hillerod is the largest Renaissance palace in Scandinavia.

Elsewhere, in Sweden, with Gustav Wasa's seizure of power and the onset of the Protestant reformation, church construction and aristocratic building projects came to a near standstill. During this time period, the magnificent Wasa castles appeared. They were erected at strategic locations to control the country as well as to accommodate the traveling royal court. Gripsholm Castle, Kalmar Castle and Vadstena Castle are known for their fusion of medieval elements with Renaissance architecture.

The architecture of Norway was influenced partly by the occurrence of the plague during the Renaissance era. After the Black Death, monumental construction in Norway came to a standstill. There are few examples of Renaissance architecture in Norway, the most prominent being the Rosenkrantz Tower in Bergen, Barony Rosendal in Hardanger, and the contemporary Austrat manor near Trondheim, and parts of Akershus Fortress.

There is not much notable Renaissance influence in Finnish architecture.[54]

===Germany===

[[File:Keoln Maerz 2009 PD 20090327 028.JPG|thumb|The loggia of [[Cologne City Hall]]]]
{{main|German Renaissance}}
The Renaissance in Germany was inspired by German philosophers and artist such as [[Johannes Reuchlin]] and [[Albrecht Dürer]] who visited Italy. Important architecture of this period are especially the [[Landshut Residence]], the castle in [[Heidelberg]],Johannisburg castle in [[Aschaffenburg]] and the Town Hall in Augsburg. In July 1567 the city council of [[Cologne]] approved a design in the Renaissance style by Wilhelm Vernukken for a two storied loggia for [[Cologne City Hall]].
[[Michaelskirche (München)|St Michael]] in Munich is the largest Renaissance church north of the Alps. It was built by [[William V, Duke of Bavaria|Duke William V]] of [[Bavaria]] between 1583 and 1597 as a spiritual center for the [[Counter Reformation]] and was inspired by the Church of [[il Gesù]] in Rome. The architect is unknown.<ref name=BF /><ref name=A.M /><ref name= W&M />

[[Image:Ventana2.jpg|left|thumb|The Escorial, Spain.]]

===Spain===

{{main|Architecture of the Spanish Renaissance}}
In Spain, Renaissance began to be grafted to Gothic forms in the last decades of the 15th century. The new style is called [[Plateresque]], because of the extremely decorated façade, that brought to the mind the decorative motifs of the intricately detailed work of [[silversmith]]s, the ''Plateros''. Classical orders and candelabra motifs (''a candelieri'') combined freely into symmetrical wholes.

From the mid-sixteenth century, under such architects as Pedro Machuca, [[Juan Bautista de Toledo]] and [[Juan de Herrera]] there was a closer adherence to the art of ancient Rome, sometimes anticipating [[Mannerism]], examples of which include the [[palace of Charles V]] in [[Granada]] and the [[Escorial]].<ref name=BF /><ref name=A.M /><ref name= W&M />

[[Image:Evora-GracaChurch1.jpg|thumb|upright|Graça Church in [[Évora]], Portugal (1530–1540).]]

===Portugal===

{{main|Renaissance architecture in Portugal}}
As in Spain, the adoption of the Renaissance style in Portugal was gradual. The so-called [[Manueline]] style (c. 1490–1535) married Renaissance elements to Gothic structures with the superficial application of exuberant ornament similar to the [[Isabelline Gothic]] of Spain. Examples of Manueline include the [[Belém Tower]], a defensive building of Gothic form decorated with Renaissance-style [[loggia]]s, and the [[Jerónimos Monastery]], with Renaissance ornaments decorating portals, columns and cloisters.

The first "pure" Renaissance structures appear under [[John III of Portugal|King John III]], like the Chapel of Nossa Senhora da Conceição in Tomar (1532–40), the ''Porta Especiosa'' of [[Old Cathedral of Coimbra|Coimbra Cathedral]] and the Graça Church at [[Évora]] (c. 1530–1540), as well as the cloisters of the Cathedral of [[Viseu]] (c. 1528–1534) and [[Convent of Christ]] in Tomar (John III Cloisters, 1557–1591). The [[Lisbon]] buildings of [[Igreja de São Roque (Lisbon)|São Roque Church]] (1565–87) and the Mannerist [[Monastery of São Vicente de Fora]] (1582–1629), strongly influenced religious architecture in both Portugal and its colonies in the next centuries.<ref name=BF />

[[Image:Krakow-Wawel-Courtyard.jpg|left|thumb|Courtyard of [[Wawel Castle]] exemplifies first period of Polish Renaissance]]
===Poland===

{{main|Renaissance in Poland}}
[[Polish Renaissance]] architecture is divided into three periods:
The First period (1500–50), is the so called "Italian". Most of Renaissance buildings were building of this time were by Italian architects, mainly from [[Florence]] including [[Francesco Fiorentino]] and [[Bartolomeo Berrecci]] ([[Wawel]] Courtyard, [[Sigismund's Chapel]]).

In the Second period (1550–1600), Renaissance architecture became more common, with the beginnings of [[Mannerist]] and under the influence of the Netherlands, particularly in [[Pommerania]]. Buildings include the New [[Sukiennice|Cloth Hall]] in Krakow and city halls in [[Tarnów]], [[Sandomierz]], [[Chełm]] (demolished) and most famously in [[Poznań]].

In the Third period (1600–50), the rising power of [[Jesuits]] and [[Counter Reformation]] gave impetus to the development of Mannerist architecture and Baroque.<ref>Harald Busch, Bernd Lohse, Hans Weigert, ''Baukunst der Renaissance in Europa. Von Spätgotik bis zum Manierismus'', Frankfurt af Main, 1960 Wilfried Koch, ''Style w architekturze'', Warsaw 1996 Tadeusz Broniewski, ''Historia architektury dla wszystkich'' Wydawnictwo Ossolineum, 1990 Mieczysław Gębarowicz, ''Studia nad dziejami kultury artystycznej późnego renesansu w Polsce'', Toruń 1962</ref>

===Kingdom of Hungary===

[[Image:Sárospatak - Castle.jpg|thumb|The [[Rákóczi]] Castle in [[Sárospatak]]<ref>[http://www.nordtour.hu/1-753.html Rákóczi Castle] accessed 23 October 2006</ref>]]
{{main|Renaissance architecture in Eastern Europe}}
One of the earliest places to be influenced by the Renaissance style of architecture was [[Hungary]]. The style appeared following the marriage of King [[Matthias Corvinus]] and Beatrix of Naples in 1476. Many Italian artists, craftsmen and [[masonry|masons]] arrived at [[Buda]] with the new queen. The most important work of Hungarian Renaissance ecclesiastical architecture is the Bakócz Chapel in the, now rebuilt and mostly nineteenth century, [[Esztergom Basilica]].<ref>[http://www.hung-art.hu/kep/zmisc/faragvan/162_sz/bakocz01.jpg Image of Bakócz Chapel] (1506–08)</ref>
[[Image:Palais à facettes.jpg|thumb|left|The [[Palace of Facets]] on the [[Cathedral Square, Moscow|Cathedral Square]] of the [[Moscow Kremlin]].]]

===Russia===

{{main|Russian architecture}}
Prince [[Ivan III]] introduced Renaissance architecture to [[Russia]] by inviting a number of architects from [[Italy]], who brought new construction techniques and some Renaissance style elements with them, while in general following the traditional designs of the [[Russian architecture]]. In 1475 the Bolognese architect [[Aristotele Fioravanti]] came to rebuild the [[Cathedral of the Dormition]] in the [[Moscow Kremlin]], damaged in an earthquake. Fioravanti was given the 12th-century [[Assumption Cathedral in Vladimir|Vladimir Cathedral]] as a model, and produced a design combining traditional Russian style with a Renaissance sense of spaciousness, proportion and symmetry.

In 1485 Ivan III commissioned the building of a royal [[Terem Palace]] within the Kremlin, with [[Aloisio da Milano]] being the architect of the first three floors. Aloisio da Milano, as well as the other Italian architects, also greatly contributed to the construction of the [[Kremlin wall]]s [[Kremlin towers|and towers]]. The small banqueting hall of the [[Russian Tsar]]s, called the [[Palace of Facets]] because of its facetted upper story, is the work of two Italians, [[Marco Ruffo]] and [[Pietro Solario]], and shows a more Italian style. In 1505, an Italian known in Russia as [[Aleviz Novyi]] built 12 churches for Ivan III, including the [[Cathedral of the Archangel]], a building remarkable for the successful blending of Russian tradition, Orthodox requirements and Renaissance style.

[[File:Šibenik - cathedral of St. Jacob.JPG|thumb|upright|[[Cathedral of St. James, Šibenik]]]]

===Croatia===

{{main|Architecture of Croatia}}
In 15th century, [[Croatia]] was divided between three states – northern Croatia was a part of [[Austrian Empire]], Dalmatia was under the rule of [[Venetian Republic]] (with exception of [[Dubrovnik]]) and Slavonia was under [[Ottoman Empire|Ottoman]] occupation. The [[Cathedral of St. James, Šibenik|Cathedral of St.James]] in [[Šibenik]], was begun in 1441 in the Gothic style by [[Giorgio da Sebenico]] ''(Juraj Dalmatinac)''. Its unusual construction does not use mortar, the stone blocks, [[pilaster]]s and [[ribs]] being bonded with [[joints]] and [[slots]] in the way that was usual in wooden constructions. In 1477 the work was unfinished, and continued under [[Nikola Firentinac]] who respected the mode of construction and the plan of the former architect, but continued the work which includes the upper windows, the vaults and the dome, in the Renaissance style. The combination of a high barrel vault with lower half-barrel vaults over the aisles the gives the façade its distinctive [[trefoil]] shape, the first of this type in the region.<ref>[http://www.sibenik.hr/vodic-eng/sibenik/kulturno_povijesna_bastina2.asp St James’s Cathedral]</ref> The cathedral was listed as a [[UNESCO]] [[World Heritage List]] in 2001.

[[Image:Cathédrale Marie-Reine-du-Monde intérieur.jpg|thumb|upright|left|[[Mary, Queen of the World Cathedral]], [[Montreal]] (19th century)]]

== Legacy of Renaissance architecture ==
{{main|Renaissance Revival architecture}}
During the 19th century there was a conscious revival of the style in [[Renaissance Revival architecture]], that paralleled the [[Gothic Revival]]. Whereas the Gothic style was perceived by architectural theorists<ref>[[John Ruskin]] [[Cambridge Camden Society]]</ref> as being the most appropriate style for Church building, the Renaissance palazzo was a good model for urban secular buildings requiring an appearance of dignity and reliability such as banks, gentlemen's clubs and apartment blocks.<ref>An influential example, The [[Reform Club]] in London (1841) by [[Charles Barry]] was closely inspired by the [[Palazzo Farnese]], discussed above [http://www.bluffton.edu/~sullivanm/england/london/barry/reform.html Photos and commentary]</ref> Buildings that sought to impress, such as the [[Palais Garnier|Paris Opera]], were often of a more Mannerist or Baroque style.<ref>[[Charles Garnier (architect)|Charles Garnier]]</ref> Architects of factories, office blocks and department stores continued to use the Renaissance palazzo form into the 20th century, in [[Mediterranean Revival Style architecture]] with an Italian Renaissance emphasis.<ref name= Pevs /><ref>[[Louis Sullivan]]</ref>

Many ideas in Renaissance architecture can be traced through subsequent architectural movements—from Renaissance to High-Renaissance, to [[Mannerism]], to [[Baroque architecture|Baroque]] (or Rococo), to [[Neo-Classicism]], to [[Eclecticism]], to [[Modernism]], and to [[Postmodern architecture|Postmodernism]]. The influence of Renaissance architecture can still be seen in many of the modern styles and rules of architecture today.
 

== See also ==
*[[Italian Renaissance painting]]
*[[List of Renaissance structures]]
*[[Lives of the Most Excellent Painters, Sculptors, and Architects]]
*[[Mannerist architecture and sculpture in Poland]]

== References ==
{{reflist|colwidth=30em}}

==Bibliography==
{{refbegin}}
* Sir [[Banister Fletcher]]; Cruickshank, Dan, [http://books.google.com/books?id=Gt1jTpXAThwC&printsec=frontcover ''Sir Banister Fletcher's a History of Architecture''], Architectural Press, 20th edition, 1996 (first published 1896). ISBN 0750622679.
* Tadeusz Broniewski, ''Historia architektury dla wszystkich Wydawnictwo Ossolineum'', 1990
* Arnaldo Bruschi, ''Bramante'', London: Thames and Hudson, 1977. ISBN 050034065X
* Harald Busch, Bernd Lohse, Hans Weigert, ''Baukunst der Renaissance in Europa''. Von Spätgotik bis zum Manierismus, Frankfurt af Main, 1960
* Trewin Cropplestone, ''World Architecture'', 1963, Hamlyn. ISBN unknown
* Giovanni Fanelli, ''Brunelleschi'', 1980, Becocci editore Firenze. ISBN unknown
* [[Helen Gardner (art historian)|Helen Gardner]], ''Art through the Ages'', 5th edition, Harcourt, Brace and World, inc., ISBN 07679933
* Mieczysław Gębarowicz, ''Studia nad dziejami kultury artystycznej późnego renesansu w Polsce'', Toruń 1962
* Ludwig Goldscheider, ''Michelangelo'', 1964, Phaidon, ISBN 10-0714832960
* J.R.Hale, ''Renaissance Europe, 1480–1520'', 1971, Fontana ISBN 0006324355
* Arnold Hauser, ''Mannerism: The Crisis of the Renaissance and the Origins of Modern Art'', Cambridge: Harvard University Press, 1965, ISBN 0674548159
* Brigitte Hintzen-Bohlen, Jurgen Sorges, ''Rome and the Vatican City'', Konemann, ISBN 3829031092
* Janson, H.W., Anthony F. Janson, ''History of Art'', 1997, New York: Harry N. Abrams, Inc.. ISBN 0810934426
* Marion Kaminski, ''Art and Architecture of Venice'', 1999, Könemann, ISBN 3829026579
* Wilfried Koch, ''Style w architekturze'', Warsaw 1996, ISBN 8371292880
* Andrew Martindale, ''Man and the Renaissance'', 1966, Paul Hamlyn, ISBN
* Anne Mueller von der Haegen, Ruth Strasser, ''Art and Architecture of Tuscany'', 2000, Konemann, ISBN 3829026528
* [[Nikolaus Pevsner]], ''An Outline of European Architecture'', Pelican, 1964, ISBN 9780140201093
* Ilan Rachum, ''The Renaissance, an Illustrated Encyclopedia'', 1979, Octopus, ISBN 0706408578
* Joseph Rykwert, ''Leonis Baptiste Alberti, Architectural Design'', Vol 49 No 5–6, Holland St, London
* Howard Saalman, ''Filippo Brunelleschi: The Buildings'', London: Zwemmer, 1993, ISBN 10: 0-271-01067-3
* John Summerson, ''Architecture in Britain 1530–1830'', 1977 ed., Pelican, ISBN 0140560033
* Robert Erich Wolf and Ronald Millen, ''Renaissance and Mannerist Art'', 1968, Harry N. Abrams, ISBN not known
* Manfred Wundram, Thomas Pape, Paolo Marton, ''Andrea Palladio'', Taschen, ISBN 3822802719
{{refend}}

==External links==
{{commonscat}}
*[http://www.greatbuildings.com/types/styles/renaissance.html Renaissance Architecture in Great Buildings Online]
{{Archhistory}}

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[[Category:Architectural history]]
[[Category:Italian architecture]]
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| Criteria = (iii)(iv)
| ID = 850
| Region = [[List of World Heritage Sites in the Arab States|Arab States]]
| Year = 1998
| Link = http://whc.unesco.org/en/list/850
}}

The '''Cedars of God''' ({{lang-ar|أرز الربّ}} "Cedars of the Lord") are among the last survivors of the extensive forests of the [[Lebanon Cedar|Cedars of Lebanon]] that thrived across [[Mount Lebanon]] in ancient times. Their timber was exploited by the [[Assyrian people|Assyrians]], [[Babylonians]] and [[Persia]]ns as well as the [[Phoenicians]]. The wood was prized by [[Egyptians]] for [[shipbuilding]]; [[Solomon]] used them in the construction of the [[Solomon's Temple|First Temple in Jerusalem]] and the [[Ottoman Empire]] also used the cedars in railway construction.<ref name="thecedars">[http://www.middleeast.com/thecedars.htm The Cedars]</ref>

==History==
Once [[Lebanon]] was shaded by thick cedar forests, so it is no coincidence that the tree is the symbol of the country. After centuries of persistent [[deforestation]], the extent of these forest has been markedly reduced. The trees survive in mountainous areas, where they are the dominant tree species. This is the case of the slopes of Mount Makmel that tower over the [[Kadisha Valley]] where the Cedars of God are found at an altitude of more than 2000 metres. Four of them have reached a height of 35 metres and their trunks are between 12 and 14 metres around.<ref name="thecedars"/>

Concern for the [[Biblical]] Cedars of God goes back to 1876 when the 102-hectare grove was surrounded by a high stone wall, which was paid for by [[Queen Victoria]]. The wall protects saplings from goats.<ref name="thecedars"/>

==World Heritage Site==
In 1998, the Cedars of God were added to the [[UNESCO]] list of [[World Heritage Sites]].

==Current status==
The forest is rigorously protected. It is possible to tour it escorted by an authorized guide. After a preliminary phase in which the land was cleared of [[detritus]], the sick plants treated, and the ground fertilized, the "Committee of the Friends of the Cedar Forest" initiated a reforestation program in 1985. These efforts will only be appreciable in a few decades due to the slow growth of cedars. In these areas the winter offers incredible scenery, and the trees are covered with a blanket of snow.
[[Image:Libanonzeder.jpg|thumb|Lebanon Cedar]]

==References in religious texts==
The Lebanon Cedar is mentioned over 70 times in the [[Bible]], for example:
* "He moves his tail like a cedar; The sinews of his thighs are tightly knit." (''Job'' 40:17).
* "The priest shall take cedarwood and [[hyssop]] and scarlet stuff, and cast them into the midst of the burning of the [[heifer]]" (''Numbers'' 19:6).
* "The righteous flourish like the [[palm tree]] and grow like the cedar in Lebanon" (''Psalm'' 92:12).
* "I will put in the wilderness the cedar, the acacia, the [[myrtle]], and the [[olive]]" (''Isaiah'' 41: 19).
* "Behold, I will liken you to a cedar in Lebanon, with fair branches and forest shade" (''Ezekiel'' 31:3).
* "I destroyed the [[Amorite]] before them, whose height was like the height of the cedars" (''Amos'' 2:9).
*"The trees of the LORD are well watered, the cedars of Lebanon that he planted." (Isaiah 2:13 NIV).
*<nowiki>[King Solomon made]</nowiki> cedar [[Devalue|as plentiful]] as the [[sycamore-fig]] trees in the [[foothill]]s. (1 Kings 10:27, NIV, excerpt)

The [[Lebanon Cedar|Cedars of Lebanon]] were also mentioned in the [[Epic of Gilgamesh]].

==Gallery==

<gallery>
Image:Cedars01(js).jpg|The Grove
Image:Cedars02(js).jpg
Image:Cedars03(js).jpg
Image:Cedars05(js).jpg
Image:Cedars06(js).jpg
Image:Cedars07(js).jpg
Image:Cedars10(js).jpg
Image:Cedars11(js).jpg
Image:Cedars12(js).jpg
Image:Cedars13(js).jpg
Image:Cedars14(js).jpg
Image:Cedars15(js).jpg
Image:Cedars16(js).jpg
Image:Cedars17(js).jpg
Image:Cedars18(js).jpg
Image:Cedars19(js).jpg
Image:Cedars20(js).jpg
Image:Cedars21(js).jpg
Image:Cedars22(js).jpg
Image:Cedars24(js).jpg
Image:Cedars25(js).jpg
Image:Cedars27(js).jpg

</gallery>

==Notes==
<references/>

==See also==
{{commons|Category:Cedars of God}}
*[[Cedar (disambiguation)]]
*[[Lebanon Cedar]]
*[[Flag of Lebanon]]
*[[Lebanon]]
* [[List of trees]]

==External links==
* http://www.ikamalebanon.com/eco_tourism/north_et/north_cities_et/cedars.htm

{{World Heritage Sites in Lebanon}}
[[Category:Geography of Lebanon]]
[[Category:Environment of Lebanon]]
[[Category:World Heritage Sites in Lebanon]]

[[Category:Epic of Gilgamesh]]

[[es:Bosque de los cedros de Dios]]
[[hr:Božji cedrovi]]
[[it:Foresta dei cedri di Dio]]
[[ka:სამეფო კედრების ტყე]]
[[pl:Las Bożych Cedrów]]
[[pt:Cedros de Deus]]

Lahore Fort

2011-03-16T13:04:08Z

Prof saxx: /* External links */ hr link

{{citations missing|date=January 2011}}
{{incomplete|date=January 2011}}
{{coord|31|35|25|N|74|18|35|E|display=title}}
{{Infobox World Heritage Site
|WHS = Fort and Shalamar Gardens in Lahore
|Image = [[Image:Lahore Fort.jpg|270px]]
|State Party = {{PAK}}
|Type = Cultural
|Criteria = i, ii, iii
|ID = 171
|Region = [[List of World Heritage Sites in Asia and Australasia|Asia-Pacific]]
|Year = 1981
|Session = 5th
|Danger = 2000-
|Link = http://whc.unesco.org/en/list/171
}}
The '''Lahore Fort''', locally referred to as ''[[Shahi Qila]]'' ({{lang-ur|'''شاهی قلعہ'''}}) is [[citadel]] of the city of [[Lahore]], [[Punjab (Pakistan)|Punjab]], [[Pakistan]]. It is located in the northwestern corner of the [[Walled City of Lahore]]. The [[trapezoidal]] composition is spread over 20 [[hectare]]s.

Origins of the fort go as far back as antiquity, however, the existing base structure was built during the reign of [[Mughal Empire|Mughal]] emperor [[Akbar]] (1556–1605), and was regularly upgraded by subsequent [[List of Mughal emperors|rulers]], having thirteen gates in all.<ref>[[Aurangzeb]]</ref> Thus the fort manifests the rich traditions of [[Mughal architecture]].<ref>M Taher (1997). ''Encyclopaedic Survey of Islamic Culture''. Anmol Publications. ISBN 81-7488-487-4</ref> Some of the famous sites inside the fort include: [[Sheesh Mahal]], [[Alamgiri Gate]], [[Naulakha pavilion]], and [[Moti Masjid (Lahore)|Moti Masjid]]. In 1981, the fort was inscribed as a [[UNESCO]] [[World Heritage Site]] along with the [[Shalimar Gardens (Lahore)]].

The [[Expo 2010#National pavilions|Pakistan Pavilion]] at [[Expo 2010]] is designed as a replica of the fort.<ref name=PakistanPavilion1>{{cite news|first=|last=|title=Pakistan Pavillion for Shanghai World Expo |url=http://en.expo2010.cn/c/en_gj_tpl_7.htm|work=Pavilion Archive|publisher= |date=2010-04-17|accessdate=2010-04-28}}</ref>

==Origins==
The origins of Lahore Fort are obscure and are traditionally based on various myths.<ref>G Johnson, C A Bayly, and J F Richards (1988). The New Cambridge History of India. Cambridge University Press. ISBN 0-521-40027-9</ref> However, during the excavation carried out in 1959 by the [[Mohammed Rafique Mughal#Buddhist and Early Historical/ Medieval sites|Department of Archaeology]], in front of ''Diwan-e-Aam'', a [[gold coin]] of [[Mahmood of Ghazni]] dated AH 416 (1025 AD) was found at a depth of 7.62 metres from the level of the lawns. Cultural layers continued to a further depth of 5 metres, giving strong indications that people had lived here, long before the conquest of Lahore by Mahmood in 1021 AD.<ref>S. Ahmed (2007. [http://www.dawn.com/2007/04/28/nat42.htm Three floors revealed at Lahore Fort]. [[Dawn (newspaper)]]. 28 April. Retrieved on 7 March 2008.</ref> Further mention of the fort is traceable to [[Shahab-ud-din Muhammad Ghuri]]'s successive invasions of Lahore from 1180 to 1186 AD.

=== Timeline ===
[[Image:The Hazuri Bagh Pavilion(1870).jpg|thumb|A picture showing the Lahore Fort and Hazuri Bagh Pavilion in 1870.]]
[[Image:OldCityM.jpg|thumb|300px|Location of Fort along the Walled City of Lahore]]
* It cannot be said with certainty when the Lahore Fort was originally constructed or by whom, since this information is lost to history, possibly forever. However, evidence found in archaeological digs gives strong indications that it was built long before 1025 AD.
* 1241 AD - Destroyed by [[Mongols]].
* 1267 AD - Rebuilt by Sultan [[Ghiyas ud din Balban]].
* 1398 AD - Destroyed again, by [[Timur|Amir Tamir]]'s army.
* 1421 AD - Rebuilt in mud by Sultan Mubark Shah Syed.
* 1432 AD - The fort is occupied by Shaikh Ali of Kabul who makes repairs to the damages inflicted on it by [[Khokhar#Shaikha_Khokhar_and_Tamerlane|Shaikha Khokhar]].
* 1566 AD - Rebuilt by [[Mughal Empire|Mughal]] emperor [[Akbar]], in solid brick masonry on its earlier foundations. Also perhaps, its area was extended towards the river [[Ravi River|Ravi]], which then and up to about 1849 AD, used to flow along its fortification on the north. Akbar also built ''Doulat Khana-e-Khas-o-Am'', the famous ''Jharoka-e-Darshan'' (Balcony for Royal Appearance), Masjidi Gate etc.
* 1618 AD - [[Jehangir]] adds ''Doulat Khana-e-Jehangir''
* 1631 AD - [[Shahjahan]] builds ''Shish Mahal'' (Mirror Palace).
* 1633 AD - Shahjahan builds ''Khawabgah'' (a dream place or sleeping area), ''Hamam'' (bath ), ''Khilwat Khana'' (retiring room), and ''[[Moti Masjid (Lahore)|Moti Masjid]]'' (Pearl Mosque).<ref>Nath, R. (1982). History of Mughal Architecture. Abhinav Publications. ISBN 81-7017-414-7. p. 422</ref>
* 1645 AD - Shahjahan builds ''Diwan-e-Khas'' (''Hall of Special Audience'').
* 1674 AD - [[Aurangzeb]] adds the massively fluted ''[[Alamgiri Gate]]''.
* (Sometime during) 1799-1839 AD - The outer fortification wall on the north with the moat, the marble ''athdera'', ''Havaeli Mai Jindan'' and ''Bara Dari Raja Dhiyan Singh'' were constructed by [[Ranjit Singh]], Sikh ruler from 1799-1839 AD
* 1846 AD - Occupied by the British.
* 1927 AD - The British hand over the Fort to the ''Department of Archaeology'' after demolishing a portion of the fortification wall on the south and converting it into a stepped form thus ''defortifying'' the fort.

== Structure ==
[[File:July 9 2005 - The Lahore Fort-Close up of front of the Shish Mahal.jpg|thumb|left|A view of the front of the ''[[Sheesh Mahal]]''.]]
The strategic location of Lahore city between the [[Mughal Empire|Mughal territories]] and the strongholds of [[Kabul]], [[Multan]], and [[Kashmir]] required the dismantling of the old mud-fort and fortification with solid brick masonry.<ref>[http://archnet.org/library/sites/one-site.jsp?site_id=3991 Lahore Fort Complex]. Archnet Digital Library. Retrieved on 7 March 2008</ref> The structure is dominated by [[Persian architecture|Persian influence]] that deepened with the successive refurbishments by subsequent [[Mughal era|emperors]].<ref>N A Chaudhry (1999). Lahore Fort: A Witness to History. Sang-e-Meel Publications. ISBN 969-35-1040-2</ref> The fort is clearly divided into two sections: first the administrative section, which is well connected with main entrances, and comprises larger garden areas and ''Diwan-e-Aam'' for royal audiences. The second - a private and concealed residential section - is divided into courts in the northern part, accessible through 'elephant gate'. It also contains ''Shish Mahal'' (Hall of Mirrors of Mirror Palace), and spacious bedrooms and smaller gardens.<ref>Catherine E G Asher (1992) Architecture of Mughal India. [[Cambridge University Press]]. ISBN 0-521-26728-5</ref> On the outside, the walls are decorated with blue Persian kashi tiles. The original entrance faces the Maryam Zamani Mosque, whereas the larger [[Alamgiri Gate]] opens to the [[Hazuri Bagh]] through to the majestic [[Badshahi Mosque]].<ref>A N Khan (1997). Studies in Islamic Archaeology of Pakistan. Sang-e-Meel Publications</ref>

== Gallery ==
<center>
<gallery>
File:Alamgiri gate of lahore fort from the steps of badshahi mosques gate.jpeg|[[Alamgiri Gate]] in front of the fort
File:The Lahore Forts Alamgiri Gate Picture2 taken at night - July 20 2005.jpg|Lahore Fort at night-time.
Image:Khangah_Lahore_Fort.jpg|Old 'Khangah' inside Fort

Image:Naulakha_3.jpg|[[Naulakha Pavilion]]
Image:July 9 2005 - The Lahore Fort-Another sideview of Naulakha pavillion.jpg|Naulakha Pavilion
Image:Naulakha_Detail.jpg|[[Naulakha|Naulakha Detail]]
File:Lahore Fort Hathee Peyr 2005-09-03.jpg|The entrance of elephants
File:July 9 2005 - The Lahore Fort-Doorways of sleeping chambers.jpg|Doorways of sleeping chambers
File:July 9 2005 - The Lahore Fort-A black wooden door.jpg|Black-wooden door
Image:Jharoka_Diwan-i-Aam.jpg|'Jharoka' - Royal Balcony
Image:July 9 2005 - The Lahore Fort-Front center view of hall of special audience.jpg|Diwan-e-Khas: Hall of Special Audience
File:July 9 2005 - The Lahore Fort-Closer view of the Hall of public audience.jpg|Diwan-e-Aam: Hall of Public Audience
Image:Moti_Masjid.jpg|Moti Masjid
Image:Moti Masjid Interier.JPG|Moti Masjid interior
Image:July 9 2005 - The Lahore Fort-A gate from the backside.jpg|Roshnai Gate - Side Entrance
Image:Gateway_Ramparts.jpg|Gateway Ramparts
</gallery>
</center>

==Other Mughal Forts==
*[[Red Fort]]
*[[Agra Fort]]

==See also==
*[[Alamgiri Gate]]
*[[Hazuri Bagh]]
*[[Moti Masjid (Lahore)]]
*[[Naulakha pavilion]]
*[[Roshnai Gate]]
*[[Sheesh Mahal]]
*[[Badshahi Mosque]]
*[[Wazir Khan Mosque]]
*[[Mughal Empire]]
*[[List of forts]]
*[[Hassan Nasir]]

== References ==
{{reflist}}

==External links==
{{commons category|Lahore Fort}}
* [http://www.infopakistan.pk/2009/08/lahore-fort-lahore-pakistan Lahore Fort snapshots]
*[http://maps.google.com/maps?f=q&hl=en&q=lahore,+pakistan&layer=&ie=UTF8&om=1&z=17&ll=31.588251,74.312972&spn=0.005365,0.010815&t=h&iwloc=addr Lahore Fort as seen from space (Google Maps)]
*[http://www.world-heritage-tour.org/asia/south-asia/pakistan/lahore-fort/map.html Panographic Images of Lahore Fort And Shalimar Garden at UN's World Heritage Site]
*[http://www.orientalarchitecture.com/lahore/fortindex.htm Photos and information about the Lahore Fort]
*[http://www.chowrangi.com/shahi-qila.html Detailed History of Shahi Qila ]
{{Template group
|list =
{{Lahore Fort Complex}}{{LahoreTopics}}
{{World Heritage Sites in Pakistan}}
{{Mughal Empire|state=collapsed}}
}}
[[Category:Lahore Fort| ]]
[[Category:World Heritage Sites in danger]]
[[Category:Architecture of Lahore]]
[[Category:Forts in Pakistan]]
[[Category:Islamic architecture]]
[[Category:Lahore]]
[[Category:Mughal gardens]]
[[Category:Mughal architecture]]
[[Category:Royal residences in Pakistan]]
[[Category:World Heritage Sites in Pakistan]]
[[Category:Visitor attractions in Lahore]]
[[Category:Palaces in Pakistan]]

[[cs:Láhaurská pevnost]]
[[de:Die Festung und die Shalimar-Gärten in Lahore]]
[[es:Fuerte de Lahore]]
[[fa:قلعه لاهور]]
[[fr:Fort de Lahore]]
[[hr:Utvrda Lahore]]
[[ko:라호르 성]]
[[hi:लाहौर का किला]]
[[it:Forte Lahore]]
[[he:מצודת לאהור]]
[[ja:ラホール城]]
[[pnb:شاہی قلعہ]]
[[ru:Лахорская крепость]]
[[sh:Lahorska tvrđava]]
[[fi:Lahoren linnoitus]]
[[sv:Lahore fort]]
[[ur:قلعہ لاہور]]
[[zh:拉合尔古堡]]

Sokollu-Mehmed-Pascha-Moschee

2011-02-28T22:25:55Z

Prof saxx: size of the pictures

{{Infobox religious building
| building_name = Sokollu Mehmet Pasha Mosque
| infobox_width = 200px
| image = Sokollu Mehmet Pasha Camii exterior.jpg
| image_size = 300px
| caption = Sokollu Mehmet Pasha Mosque
| map_type =
| map_size =
| map_caption =
| location = [[Istanbul]], [[Turkey]]
| geo = {{coord|41|00|17|N|28|58|19|E|}}
| latitude =
| longitude =
| religious_affiliation = [[Islam]]
| rite =
| region =
| state =
| province =
| territory =
| prefecture =
| sector =
| district =
| cercle =
| municipality =
| consecration_year =
| status =
| functional_status =
| heritage_designation =
| leadership =
| website =
| architecture = yes
| architect = [[Mimar Sinan]]
| architecture_type = mosque
| architecture_style =
| general_contractor =
| facade_direction =
| groundbreaking = 1571
| year_completed = 1572
| construction_cost =
| specifications = yes
| capacity =
| length =
| width =
| width_nave =
| height_max =
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| dome_height_outer =
| dome_height_inner =
| dome_dia_outer =
| dome_dia_inner =
| minaret_quantity = 1
| minaret_height =
| spire_quantity =
| spire_height =
| materials = [[granite]], [[marble]]
}}
The '''Sokollu Mehmet Pasha Mosque''' ({{lang-tr|Sokollu Mehmed Paşa Camii}}) is an [[Ottoman Empire|Ottoman]] [[mosque]] located in the Kadirga neighborhood of the [[Fatih]] district of [[Istanbul]], [[Turkey]].<ref>Rogers, Sinan, index.</ref>
[[Image:Sokollu_Mehmet_Pasha_Mosque_Dome_Painting_-Sep_2010.jpg|thumb|left|Dome View]]
==History==
The Sokollu Mehmet Pasha Mosque was designed by [[Ottoman architecture|Ottoman imperial architect]] [[Mimar Sinan]] for [[Grand Vizier]] [[Sokollu Mehmet Pasha]] (husband of one of the granddaughters of [[Sultan]] [[Suleiman the Magnificent]], Princess Esmahan. Its building took place from 1571 to 1572. The mosque is officially named after Princess Esmahan, but is more commonly known for its association with her far more famous husband.<ref> Faroqhi, Subjects of the Sultan.</ref>

==Architecture==
[[Image:Sokollu Mehmet Pasha Camii interior.jpg|thumb|left|Interior view]]
===Exterior===
The mosque is noted for its architecturally challenging location on a steep slope. Sinan resolved this issue by fronting the mosque with a two-story courtyard. The bottom story (now in ruins) was divided into shops, whose rents were intended to help support the upkeep of mosque. The upper story with an open colonnaded courtyard had the spaces between the columns on three sides walled off to form small rooms, each with a small window, fireplace and niche to store bedding, forming the living accommodations for a [[madrasah]]. Instruction for students was given in the prayer hall itself, or in the ''dershane'', a large domed room over the western staircase. The fourth side of the courtyard is the mosque itself, which is designed as a hexagon inscribed in a rectangle, topped by a dome with four small semi-domes in the corners.<ref name="FreelyBGI">Freely, Blue Guide Istanbul.</ref>

===Interior===

The interior of the Sokollu Mehmet Pasha Mosque is famous for its large quantities of exquisite [[İznik pottery|İznik tiles]], set in a very wide variety of blue and green floral designs, with panels of [[calligraphy]] in white letters on a blue field. The interior columns make use of polychrome [[marble]]. The ''[[minbar]]'' is made of white marble with a conical cap, sheathed in turquoise tiles, which also frame the ''[[mihrab]]''. The windows above the mithrab are stained glass. Above the door, framed by a gold design, is a fragment of the [[Kaaba]] in [[Mecca]]; other fragments of this black stone are in the ''minbar'' and ''mihrab''.<ref name="FreelyBGI"/>

== See also ==
* [[Islamic architecture]]
* [[List of mosques]]
* [[Ottoman architecture]]

==References==
*{{cite book
| last = Denny
| first = Walter B.
| year = 2005
| title = Iznik: The Artistry of Ottoman Ceramics
| publisher = Thames & Hudson
| location =
| id = ISBN 0500511926
}}
*{{cite book
| last = Faroqhi
| first = Suraiyah
| year = 2005
| title = Subjects of the Sultan: Culture and Daily Life in the Ottoman Empire
| publisher = I B Tauris
| location =
| id = ISBN 1850437602
}}
*{{cite book
| last = Freely
| first = John
| year = 2000
| title = Blue Guide Istanbul
| publisher = W. W. Norton & Company
| location =
| id = ISBN 0393320146
}}
*{{cite book
| last = Rogers
| first = J.M.
| year = 2007
| title = Sinan: Makers of Islamic Civilization
| publisher = I B Tauris
| location =
| id = ISBN 184511096X
}}

==External links==
*[http://www.sinanasaygi.org/en/eserler.asp?action=eserDetay&ID=52 Sokullu Mehmet Pasha Camii (Kadirga)], at "Respect to Sinan" (www.sinanasaygi.org)
*[http://www.fotopedia.com/en/Sokollu_Mehmet_Pasha_Mosque Gallery of Sokollu Mehmet Pasha Mosque in Fotopedia]

==Notes==
{{reflist}}

{{Mosques in Turkey}}

[[Category:Buildings and structures completed in 1572]]
[[Category:Mimar Sinan buildings]]
[[Category:Ottoman architecture]]
[[Category:Mosques in Istanbul]]
[[Category:Fatih, Istanbul]]

[[es:Mezquita de Sokollu Mehmet Pasha]]
[[rw:Umusigiti wa Sokollu Mehmet Pasha]]
[[mk:Џамија Мехмед Паша Соколовиќ]]
[[nl:Sokollu Pasamoskee]]
[[pnb:سوکولو محمد پاشا مسیت]]
[[pt:Mesquita de Sokollu Mehmet Paşa]]
[[ru:Мечеть Соколлу Мехмед-паши]]
[[tr:Sokollu Mehmed Paşa Külliyesi (Kadırga)]]
[[zh:索科卢穆罕默德帕夏清真寺]]