101 Things You Didn't Know About Da Vinci by Shana Priwer Page B
Authors: Shana Priwer
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architectural inspiration were probably Alberti, Bramante, and Raphael. Leon Batista Alberti (1406â1472), an architect, artist, composer, and author, was responsible for writing the Renaissance's first treatise on architecture. He based his designs on classical architecture, and it is likely that Leonardo studied Alberti's designs during his apprenticeship to Verrocchio. Donato Bramante (1444â1514) was another primary Renaissance architect. As an official architect for Pope Julius II, he created masterpieces in the style of Greek and Roman classics, interpreting them in light of Renaissance Christian teachings. Raphael (1483â1520) followed in Bramante's footsteps by becoming the next papal architect. He was known for adhering to a fairly strict system of classical spatial organization. Raphael was also a distinguished artist. As you can see, there was clearly no lack of architectural talent during the Renaissance!
While synthesis of form and structure can be a goal for many architects, it is not a given. As both an artist and a student of mathematics, however, Leonardo had the distinct advantage of being able to conceptualize a project in its entirety. He was interested in appearance, as well as structure and construction. Leonardo's talent for encompassing both areas in his studies set him apart from many of his predecessors and paved the way for more modern ways of thinking about architectural design.
41
The Milan dome
During his major period in Milan (1482â1499), Leonardo was busy with assignments from his patron Ludovico Sforza, the Duke of Milan. His major artistic accomplishments during this time include The Virgin of the Rocks and The Last Supper , paintings that earned an esteemed place in history for their beauty, innovation, and highly skilled production. This was also a time of major experimentation for Leonardoâhe produced paintings, sketches of military equipment, sculptures, machinery prototypes, and architectural designs.
One of Leonardo's most significant ventures in architecture occurred in 1488, when he created a preliminary design for the dome and tambour of the Milan Gothic Cathedral. This massive cathedral was a huge undertaking, not just for Milan but for much of Italy. Built over a 500-year period, the cathedral brought the High Gothic style to Milan at quite a price. It is the central focus of town, with most streets ending at its doors. Work on the cathedral began in 1387. As political and religious power continued to change hands over the years, new designers and master masons were invited to work on the cathedral, which would be a living tribute to the creativity of Italian artists. Political and financial messes slowed down the project, though, and the great spire wasn't constructed until the mid-eighteenth century; additional spires and stair towers were built during the nineteenth century. By this point, some of the original work was already crumbling! Restoration was necessary, and that task occupied much of the early twentieth century.
During the end of the fifteenth century, the Sforza and Solari families exerted strong Tuscan influence over the cathedral's design (see number 21 for more on the Sforzas). The Solari family, based in Milan, included many artists and architects whose designs were prominent all over Italy. Giovanni Amadeo was slated to design the drum of the Milan cathedral, and despite the burgeoning presence of Renaissance architecture, he was determined to keep a strong tie to the site's Gothic roots.
Around this time, Leonardo da Vinci was consulted regarding several aspects of the cathedral. As usual, he wanted to involve himself in as many projects as possible, so he submitted drawings for the dome. Even though it was never built, Leonardo's design for the dome was an important marker in his career since, at this point, he was starting to incorporate studies of mathematics (particularly geometry) into his designs.
This project also brings to
While synthesis of form and structure can be a goal for many architects, it is not a given. As both an artist and a student of mathematics, however, Leonardo had the distinct advantage of being able to conceptualize a project in its entirety. He was interested in appearance, as well as structure and construction. Leonardo's talent for encompassing both areas in his studies set him apart from many of his predecessors and paved the way for more modern ways of thinking about architectural design.
41
The Milan dome
During his major period in Milan (1482â1499), Leonardo was busy with assignments from his patron Ludovico Sforza, the Duke of Milan. His major artistic accomplishments during this time include The Virgin of the Rocks and The Last Supper , paintings that earned an esteemed place in history for their beauty, innovation, and highly skilled production. This was also a time of major experimentation for Leonardoâhe produced paintings, sketches of military equipment, sculptures, machinery prototypes, and architectural designs.
One of Leonardo's most significant ventures in architecture occurred in 1488, when he created a preliminary design for the dome and tambour of the Milan Gothic Cathedral. This massive cathedral was a huge undertaking, not just for Milan but for much of Italy. Built over a 500-year period, the cathedral brought the High Gothic style to Milan at quite a price. It is the central focus of town, with most streets ending at its doors. Work on the cathedral began in 1387. As political and religious power continued to change hands over the years, new designers and master masons were invited to work on the cathedral, which would be a living tribute to the creativity of Italian artists. Political and financial messes slowed down the project, though, and the great spire wasn't constructed until the mid-eighteenth century; additional spires and stair towers were built during the nineteenth century. By this point, some of the original work was already crumbling! Restoration was necessary, and that task occupied much of the early twentieth century.
During the end of the fifteenth century, the Sforza and Solari families exerted strong Tuscan influence over the cathedral's design (see number 21 for more on the Sforzas). The Solari family, based in Milan, included many artists and architects whose designs were prominent all over Italy. Giovanni Amadeo was slated to design the drum of the Milan cathedral, and despite the burgeoning presence of Renaissance architecture, he was determined to keep a strong tie to the site's Gothic roots.
Around this time, Leonardo da Vinci was consulted regarding several aspects of the cathedral. As usual, he wanted to involve himself in as many projects as possible, so he submitted drawings for the dome. Even though it was never built, Leonardo's design for the dome was an important marker in his career since, at this point, he was starting to incorporate studies of mathematics (particularly geometry) into his designs.
This project also brings to
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