Who What Where WhenREMOVEWHAT
WHERE
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Title
[Rucellai Loggia, General view of facade]
Creators
attributed to Leon Battista Alberti (Italian architect, 1404-1472); Giovanni Rucellai (Italian patron, 1475-1525)
Description
Giovanni di Paolo Rucellai, a wealthy banker allied to both the Medici and Strozzi families, initiated four major projects in the city: a new palace, a free-standing loggia opposite the palace, a funerary chapel in the nearby church of S Pancrazio and a façade for S Maria Novella, the principal church in his quarter of the city. The loggia was originally intended as a place for the Rucellai family to have weddings and other celebrations. Sometime before 1880 the arches were enclosed and it became a shop with housing above. In 1960 it was restored and the arches re-opened; it is now glazed with glass and used as a retail store. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Rucellai Loggia, Detail, springing of arch]
Creators
attributed to Leon Battista Alberti (Italian architect, 1404-1472); Giovanni Rucellai (Italian patron, 1475-1525)
Description
Giovanni di Paolo Rucellai, a wealthy banker allied to both the Medici and Strozzi families, initiated four major projects in the city: a new palace, a free-standing loggia opposite the palace, a funerary chapel in the nearby church of S Pancrazio and a façade for S Maria Novella, the principal church in his quarter of the city. The loggia was originally intended as a place for the Rucellai family to have weddings and other celebrations. Sometime before 1880 the arches were enclosed and it became a shop with housing above. In 1960 it was restored and the arches re-opened; it is now glazed with glass and used as a retail store. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Rucellai Loggia, Detail, Corinthian capital and column supporting arch]
Creators
attributed to Leon Battista Alberti (Italian architect, 1404-1472); Giovanni Rucellai (Italian patron, 1475-1525)
Description
Giovanni di Paolo Rucellai, a wealthy banker allied to both the Medici and Strozzi families, initiated four major projects in the city: a new palace, a free-standing loggia opposite the palace, a funerary chapel in the nearby church of S Pancrazio and a façade for S Maria Novella, the principal church in his quarter of the city. The loggia was originally intended as a place for the Rucellai family to have weddings and other celebrations. Sometime before 1880 the arches were enclosed and it became a shop with housing above. In 1960 it was restored and the arches re-opened; it is now glazed with glass and used as a retail store. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Rucellai Loggia, Detail, pilaster and capital]
Creators
attributed to Leon Battista Alberti (Italian architect, 1404-1472); Giovanni Rucellai (Italian patron, 1475-1525)
Description
Giovanni di Paolo Rucellai, a wealthy banker allied to both the Medici and Strozzi families, initiated four major projects in the city: a new palace, a free-standing loggia opposite the palace, a funerary chapel in the nearby church of S Pancrazio and a façade for S Maria Novella, the principal church in his quarter of the city. The loggia was originally intended as a place for the Rucellai family to have weddings and other celebrations. Sometime before 1880 the arches were enclosed and it became a shop with housing above. In 1960 it was restored and the arches re-opened; it is now glazed with glass and used as a retail store. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, general view looking northeast across the open court]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, general view looking northeast across the open court]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, general view looking northeast across the open court]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, view looking along the south flank of the open court, depicting a pier in profile]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, frontal view of the north elevation of the open court]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, frontal view of the north elevation of the open court, looking up]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, view into the northeast corner of the open court]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, detail of a pier and pilaster base]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, detail of a pier and pilaster base]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, close view looking up at the northeast corner of the open court]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Santa Maria della Pace Cloister, Cloister, close view looking up at the northeast corner of the open court, depicting the second level]
Creators
Donato Bramante (Italian architect, 1444-1514)
Description
The main feature of the church is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in Rome. It has two floors, the first with arcades on pilasters, the second with arcades on pilasters and columns. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Marshall Field and Company Store, General view, from the southwest]
Creators
Daniel Hudson Burnham (American architect, 1846-1912)
Description
The store was officially renamed Macy's on State Street on September 9, 2006. "This Commercial style building is primarily based on the designs by Daniel Burnham. The first two stories feature smooth granite pilasters that separate the bays and cover the steel support piers. An entablature with a dentilated cornice rises above the 10th floor. The 11th and 12th floors compose the crown with its recessed windows and fluted Ionic columns. These columns span both floors and support the cornice which caps the building. In 1978, the Marshall Field and Company Building was designated a National Historic Landmark." (Source: National Register of Historic Places; http://www.nps.gov/history/nr/)
Materials
stone
Title
[Marshall Field and Company Store, Frontal view of the west façade, depicting the main entry]
Creators
Daniel Hudson Burnham (American architect, 1846-1912)
Description
The store was officially renamed Macy's on State Street on September 9, 2006. "This Commercial style building is primarily based on the designs by Daniel Burnham. The first two stories feature smooth granite pilasters that separate the bays and cover the steel support piers. An entablature with a dentilated cornice rises above the 10th floor. The 11th and 12th floors compose the crown with its recessed windows and fluted Ionic columns. These columns span both floors and support the cornice which caps the building. In 1978, the Marshall Field and Company Building was designated a National Historic Landmark." (Source: National Register of Historic Places; http://www.nps.gov/history/nr/)
Materials
stone
Title
[Marshall Field and Company Store, View looking up the south court; a Tiffany ceiling that is both the first and largest ceiling ever built in favrile iridescent glass, containing over 1.6 million pieces]
Creators
Daniel Hudson Burnham (American architect, 1846-1912)
Description
The store was officially renamed Macy's on State Street on September 9, 2006. "This Commercial style building is primarily based on the designs by Daniel Burnham. The first two stories feature smooth granite pilasters that separate the bays and cover the steel support piers. An entablature with a dentilated cornice rises above the 10th floor. The 11th and 12th floors compose the crown with its recessed windows and fluted Ionic columns. These columns span both floors and support the cornice which caps the building. In 1978, the Marshall Field and Company Building was designated a National Historic Landmark." (Source: National Register of Historic Places; http://www.nps.gov/history/nr/)
Materials
stone
Title
[Marshall Field and Company Store, General view of the north light court, depicting the ground floor]
Creators
Daniel Hudson Burnham (American architect, 1846-1912)
Description
The store was officially renamed Macy's on State Street on September 9, 2006. "This Commercial style building is primarily based on the designs by Daniel Burnham. The first two stories feature smooth granite pilasters that separate the bays and cover the steel support piers. An entablature with a dentilated cornice rises above the 10th floor. The 11th and 12th floors compose the crown with its recessed windows and fluted Ionic columns. These columns span both floors and support the cornice which caps the building. In 1978, the Marshall Field and Company Building was designated a National Historic Landmark." (Source: National Register of Historic Places; http://www.nps.gov/history/nr/)
Materials
stone
Title
[Marshall Field and Company Store, View across the north light court from the second ground floor]
Creators
Daniel Hudson Burnham (American architect, 1846-1912)
Description
The store was officially renamed Macy's on State Street on September 9, 2006. "This Commercial style building is primarily based on the designs by Daniel Burnham. The first two stories feature smooth granite pilasters that separate the bays and cover the steel support piers. An entablature with a dentilated cornice rises above the 10th floor. The 11th and 12th floors compose the crown with its recessed windows and fluted Ionic columns. These columns span both floors and support the cornice which caps the building. In 1978, the Marshall Field and Company Building was designated a National Historic Landmark." (Source: National Register of Historic Places; http://www.nps.gov/history/nr/)
Materials
stone
Title
[Marshall Field and Company Store, View looking up the south court]
Creators
Daniel Hudson Burnham (American architect, 1846-1912)
Description
The store was officially renamed Macy's on State Street on September 9, 2006. "This Commercial style building is primarily based on the designs by Daniel Burnham. The first two stories feature smooth granite pilasters that separate the bays and cover the steel support piers. An entablature with a dentilated cornice rises above the 10th floor. The 11th and 12th floors compose the crown with its recessed windows and fluted Ionic columns. These columns span both floors and support the cornice which caps the building. In 1978, the Marshall Field and Company Building was designated a National Historic Landmark." (Source: National Register of Historic Places; http://www.nps.gov/history/nr/)
Materials
stone
Title
[San Sebastiano, General view from the southwest]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, General view from the southwest]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Side view, from the southwest]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Side view, from the northwest]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Frontal view of the church façade, depicting the upper and lower porticos]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Frontal view of the church façade, depicting the upper and lower porticos]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, The upper and lower porticos, close side view]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, View looking in the lower portico]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Portico reliefs, the left panel]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Portico reliefs, the middle panel]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Portico reliefs, the right panel]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Portico reliefs, detail of the left panel, right side]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Portico reliefs, detail of the left panel, left side]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Portal architrave with brackets]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Portal architrave, detail of brackets]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Portal architrave, detail of frieze]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Upper pediment, the architrave]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Upper pediment, detail of pilaster capital]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Entry portico, general view within the portico]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Entry portico, view of the right corner]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, Entry portico, detail of bracket over the entry]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, North portico, general view, from the northwest]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, North portico, close view of the entry stairs]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, North portico, detail of the upper corner]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[San Sebastiano, North portico, detail of a column capital]
Creators
Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478)
Description
With the commission for S Sebastiano (1459), Alberti for the first time had the opportunity to design a building for a virgin site unencumbered by pre-existing structures. The result was a revolutionary design planned as a Greek cross, the first such layout of the Renaissance. The two flights of steps are modern (1925). It stands on a high base and was originally designed with a classical temple front. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Scolari Oratory, Santa Maria degli Angeli, Aerial view, from top of Duomo]
Creators
Filippo Brunelleschi (Italian architect, 1377-1446)
Description
In his design for an oratory in the convent of S Maria degli Angeli, which was funded by the Scolari family and begun in 1434, Brunelleschi introduced yet another important innovation: the first centralized building of the Italian Renaissance. Central planning was traditionally confined to such building types as oratories or martyria, and it was for this reason that Brunelleschi chose a polygonal plan for the building. In 1437, three years after construction of the oratory began, the work was suspended and the building left uncompleted. A roof to protect the work was added in 1503, and in 1934 it was 'completed' according to a scheme by the architect Rodolfo Sabatini. Details of Brunelleschi's intentions, particularly with regard to the external elevations, thus derive from documentary sources (see Filippo Brunelleschi: La sua opera e il suo tempo, 1980, pp. 477-484). The building is planned as an octagon surrounded by a circle of eight chapels. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Scolari Oratory, Santa Maria degli Angeli, General view, from south across the piazza]
Creators
Filippo Brunelleschi (Italian architect, 1377-1446)
Description
In his design for an oratory in the convent of S Maria degli Angeli, which was funded by the Scolari family and begun in 1434, Brunelleschi introduced yet another important innovation: the first centralized building of the Italian Renaissance. Central planning was traditionally confined to such building types as oratories or martyria, and it was for this reason that Brunelleschi chose a polygonal plan for the building. In 1437, three years after construction of the oratory began, the work was suspended and the building left uncompleted. A roof to protect the work was added in 1503, and in 1934 it was 'completed' according to a scheme by the architect Rodolfo Sabatini. Details of Brunelleschi's intentions, particularly with regard to the external elevations, thus derive from documentary sources (see Filippo Brunelleschi: La sua opera e il suo tempo, 1980, pp. 477-484). The building is planned as an octagon surrounded by a circle of eight chapels. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Scolari Oratory, Santa Maria degli Angeli, Plan of Scolari Oratory, Santa Maria degli Angeli]
Creators
Filippo Brunelleschi (Italian architect, 1377-1446)
Description
In his design for an oratory in the convent of S Maria degli Angeli, which was funded by the Scolari family and begun in 1434, Brunelleschi introduced yet another important innovation: the first centralized building of the Italian Renaissance. Central planning was traditionally confined to such building types as oratories or martyria, and it was for this reason that Brunelleschi chose a polygonal plan for the building. In 1437, three years after construction of the oratory began, the work was suspended and the building left uncompleted. A roof to protect the work was added in 1503, and in 1934 it was 'completed' according to a scheme by the architect Rodolfo Sabatini. Details of Brunelleschi's intentions, particularly with regard to the external elevations, thus derive from documentary sources (see Filippo Brunelleschi: La sua opera e il suo tempo, 1980, pp. 477-484). The building is planned as an octagon surrounded by a circle of eight chapels. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
Title
[Ponte di Santa Trìnita, General distant view, from the Ponte Vecchio]
Creators
Bartolomeo Ammanati (Italian architect, 1511-1592)
Description
In 1558 the Ponte di Santa Trìnita in Florence was destroyed when the River Arno flooded. After an unsuccessful initial approach to Michelangelo in Rome, Ammanati received the commission for its reconstruction to a new design (1567-1570). Its arches were derived from chainlike curves and so look long and low, as they spring from substantial and high piers with pointed breakwaters. The bridge includes sculptural ornamentation of the Four Seasons (male figures of Fall and Winter on one bank, female figures of Spring and Summer on the other). (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone
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![[Rucellai Loggia, General view of facade]](https://luna.vrchost.com:443/media/iiif/131/1a1-al-lr-a1/full/384,/0/default.jpg)
![[Rucellai Loggia, Detail, springing of arch]](https://luna.vrchost.com:443/media/iiif/132/1a1-al-lr-a2/full/247,/0/default.jpg)
![[Rucellai Loggia, Detail, Corinthian capital and column supporting arch]](https://luna.vrchost.com:443/media/iiif/133/1a1-al-lr-a3/full/248,/0/default.jpg)
![[Rucellai Loggia, Detail, pilaster and capital]](https://luna.vrchost.com:443/media/iiif/134/1a1-al-lr-a4/full/384,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, general view looking northeast across the open court]](https://luna.vrchost.com:443/media/iiif/429/1a1-bd-sm-a1/full/384,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, general view looking northeast across the open court]](https://luna.vrchost.com:443/media/iiif/430/1a1-bd-sm-a2/full/384,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, general view looking northeast across the open court]](https://luna.vrchost.com:443/media/iiif/431/1a1-bd-sm-a3/full/384,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, view looking along the south flank of the open court, depicting a pier in profile]](https://luna.vrchost.com:443/media/iiif/432/1a1-bd-sm-a4/full/255,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, frontal view of the north elevation of the open court]](https://luna.vrchost.com:443/media/iiif/438/1a1-bd-sm-b1/full/249,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, frontal view of the north elevation of the open court, looking up]](https://luna.vrchost.com:443/media/iiif/439/1a1-bd-sm-b2/full/384,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, view into the northeast corner of the open court]](https://luna.vrchost.com:443/media/iiif/440/1a1-bd-sm-b3/full/255,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, detail of a pier and pilaster base]](https://luna.vrchost.com:443/media/iiif/441/1a1-bd-sm-c1/full/246,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, detail of a pier and pilaster base]](https://luna.vrchost.com:443/media/iiif/442/1a1-bd-sm-c2/full/248,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, close view looking up at the northeast corner of the open court]](https://luna.vrchost.com:443/media/iiif/443/1a1-bd-sm-c3/full/255,/0/default.jpg)
![[Santa Maria della Pace Cloister, Cloister, close view looking up at the northeast corner of the open court, depicting the second level]](https://luna.vrchost.com:443/media/iiif/444/1a1-bd-sm-c4/full/384,/0/default.jpg)
![[Marshall Field and Company Store, General view, from the southwest]](https://luna.vrchost.com:443/media/iiif/356/1a1-bc-mf-a1/full/384,/0/default.jpg)
![[Marshall Field and Company Store, Frontal view of the west façade, depicting the main entry]](https://luna.vrchost.com:443/media/iiif/357/1a1-bc-mf-a2/full/384,/0/default.jpg)
![[Marshall Field and Company Store, View looking up the south court; a Tiffany ceiling that is both the first and largest ceiling ever built in favrile iridescent glass, containing over 1.6 million pieces]](https://luna.vrchost.com:443/media/iiif/358/1a1-bc-mf-a3/full/384,/0/default.jpg)
![[Marshall Field and Company Store, General view of the north light court, depicting the ground floor]](https://luna.vrchost.com:443/media/iiif/359/1a1-bc-mf-a4/full/384,/0/default.jpg)
![[Marshall Field and Company Store, View across the north light court from the second ground floor]](https://luna.vrchost.com:443/media/iiif/360/1a1-bc-mf-a5/full/384,/0/default.jpg)
![[Marshall Field and Company Store, View looking up the south court]](https://luna.vrchost.com:443/media/iiif/361/1a1-bc-mf-a6/full/255,/0/default.jpg)
![[San Sebastiano, General view from the southwest]](https://luna.vrchost.com:443/media/iiif/234/1a1-al-ss-a1/full/384,/0/default.jpg)
![[San Sebastiano, General view from the southwest]](https://luna.vrchost.com:443/media/iiif/235/1a1-al-ss-a2/full/251,/0/default.jpg)
![[San Sebastiano, Side view, from the southwest]](https://luna.vrchost.com:443/media/iiif/236/1a1-al-ss-a3/full/255,/0/default.jpg)
![[San Sebastiano, Side view, from the northwest]](https://luna.vrchost.com:443/media/iiif/237/1a1-al-ss-a4/full/253,/0/default.jpg)
![[San Sebastiano, Frontal view of the church façade, depicting the upper and lower porticos]](https://luna.vrchost.com:443/media/iiif/238/1a1-al-ss-b1/full/253,/0/default.jpg)
![[San Sebastiano, Frontal view of the church façade, depicting the upper and lower porticos]](https://luna.vrchost.com:443/media/iiif/239/1a1-al-ss-b2/full/384,/0/default.jpg)
![[San Sebastiano, The upper and lower porticos, close side view]](https://luna.vrchost.com:443/media/iiif/240/1a1-al-ss-b3/full/247,/0/default.jpg)
![[San Sebastiano, View looking in the lower portico]](https://luna.vrchost.com:443/media/iiif/241/1a1-al-ss-b4/full/252,/0/default.jpg)
![[San Sebastiano, Portico reliefs, the left panel]](https://luna.vrchost.com:443/media/iiif/242/1a1-al-ss-c1/full/384,/0/default.jpg)
![[San Sebastiano, Portico reliefs, the middle panel]](https://luna.vrchost.com:443/media/iiif/243/1a1-al-ss-c2/full/384,/0/default.jpg)
![[San Sebastiano, Portico reliefs, the right panel]](https://luna.vrchost.com:443/media/iiif/244/1a1-al-ss-c3/full/384,/0/default.jpg)
![[San Sebastiano, Portico reliefs, detail of the left panel, right side]](https://luna.vrchost.com:443/media/iiif/245/1a1-al-ss-c4/full/384,/0/default.jpg)
![[San Sebastiano, Portico reliefs, detail of the left panel, left side]](https://luna.vrchost.com:443/media/iiif/246/1a1-al-ss-c5/full/253,/0/default.jpg)
![[San Sebastiano, Portal architrave with brackets]](https://luna.vrchost.com:443/media/iiif/247/1a1-al-ss-d1/full/384,/0/default.jpg)
![[San Sebastiano, Portal architrave, detail of brackets]](https://luna.vrchost.com:443/media/iiif/248/1a1-al-ss-d2/full/251,/0/default.jpg)
![[San Sebastiano, Portal architrave, detail of frieze]](https://luna.vrchost.com:443/media/iiif/249/1a1-al-ss-d3/full/384,/0/default.jpg)
![[San Sebastiano, Upper pediment, the architrave]](https://luna.vrchost.com:443/media/iiif/250/1a1-al-ss-e1/full/384,/0/default.jpg)
![[San Sebastiano, Upper pediment, detail of pilaster capital]](https://luna.vrchost.com:443/media/iiif/251/1a1-al-ss-e2/full/384,/0/default.jpg)
![[San Sebastiano, Entry portico, general view within the portico]](https://luna.vrchost.com:443/media/iiif/252/1a1-al-ss-f1/full/252,/0/default.jpg)
![[San Sebastiano, Entry portico, view of the right corner]](https://luna.vrchost.com:443/media/iiif/253/1a1-al-ss-f2/full/249,/0/default.jpg)
![[San Sebastiano, Entry portico, detail of bracket over the entry]](https://luna.vrchost.com:443/media/iiif/254/1a1-al-ss-f3/full/246,/0/default.jpg)
![[San Sebastiano, North portico, general view, from the northwest]](https://luna.vrchost.com:443/media/iiif/255/1a1-al-ss-g1/full/384,/0/default.jpg)
![[San Sebastiano, North portico, close view of the entry stairs]](https://luna.vrchost.com:443/media/iiif/256/1a1-al-ss-g2/full/250,/0/default.jpg)
![[San Sebastiano, North portico, detail of the upper corner]](https://luna.vrchost.com:443/media/iiif/257/1a1-al-ss-g3/full/248,/0/default.jpg)
![[San Sebastiano, North portico, detail of a column capital]](https://luna.vrchost.com:443/media/iiif/258/1a1-al-ss-g4/full/249,/0/default.jpg)
![[Scolari Oratory, Santa Maria degli Angeli, Aerial view, from top of Duomo]](https://luna.vrchost.com:443/media/iiif/645/1a1-bfi-sa-a1/full/384,/0/default.jpg)
![[Scolari Oratory, Santa Maria degli Angeli, General view, from south across the piazza]](https://luna.vrchost.com:443/media/iiif/646/1a1-bfi-sa-a2/full/384,/0/default.jpg)
![[Scolari Oratory, Santa Maria degli Angeli, Plan of Scolari Oratory, Santa Maria degli Angeli]](https://luna.vrchost.com:443/media/iiif/647/1a1-bfi-sa-aa1/full/248,/0/default.jpg)
![[Ponte di Santa Trìnita, General distant view, from the Ponte Vecchio]](https://luna.vrchost.com:443/media/iiif/73/1a1-ab-pt-a1/full/384,/0/default.jpg)