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Title
[Rucellai Chapel, General view of the chapel, from within the sanctuary, looking toward the shrine]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, View within the chamber which contains the shrine]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, Interior View of the chapel, depicting altar]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, View of the altar]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, View looking up within the barrel-vaulted space which contains the shrine, east end]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, View looking up at south wall, depicting pilaster]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, Side view, from southwest, depicting front and side elevations of central shrine]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, Frontal view, slightly left, depicting entrance to shrine]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, View from the back, depicting apse of shrine]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, View along the north elevation, depicting pilasters on shrine]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, Detail of decorative marble with inlays, front elevation of shrine]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
Title
[Rucellai Chapel, View of the shrine interior, depicting tomb and fragments of frescoes depicting the Resurrection of Christ by Alesso Baldovinetti]
Creators
Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
Funerary chapel for the Florentine banker Giovanni Rucellai, who was likely a personal friend of Alberti's. The chapel is covered with a magnificent barrel vault. At the chapel's center stands a small, richly decorated marble-faced structure, articulated with pilasters and crowned with a lantern, and designed in imitation of the structure in Jerusalem that marks the supposed site of Christ's burial. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble; marble inlay; stone
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
[Palazzo Rucellai, General view of the front (south) façade, from the southeast across the small piazza (intersection)]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, View of the front (south) façade, from the southeast across the small piazza]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, View looking up the west portion of the façade; pilasters, belt course and cornice]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, West portion of the façade; depth of belt course and cornice]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, General view, looking up, where the piano nobile meets the ground floor]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Ground floor elevation, right of east entry portal]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Southwest corner, from the southwest]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, East (right) portal with sundial above]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, East door, left jamb, with profile view of built-in benches]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, East door, detail of cornice with volute bracket]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, East door, detail]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, View along the public seating at the building's base]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Close frontal view of decorative cross-marks in the building's base (made to look like Roman wall construction)]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Wall detail, at the base]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Wall detail, at a window]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, View of the piano nobile]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Pilaster and frieze, ground floor]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Window arch]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Detail of coat-of-arms above window]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Pilaster and frieze, piano nobile]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Pilaster and frieze, piano nobile]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, Cornice, top floor]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Palazzo Rucellai, General view of the court]
Creators
Bernardo Rossellino (Italian architect, 1409-1464); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The innovative façade of the Palazzo Rucellai, was probably begun around 1453 under the supervision of Bernardo Rossellino. As was customary in Florentine practice, the façade was grafted on to a number of pre-existing houses. The key innovation of the Palazzo Rucellai façade lies in the application to the three storeys of superimposed orders of pilasters. This was designed all’antica and is notable for its employment of modified Classical orders, articulating a lightly rusticated wall surface. Rather than the Classical order, it uses the Tuscan order (a simplified Doric), a Renaissance original interpretation for the piano nobile, and a simplified Corinthian for the top level. (Source: Grove Art Online; http://www.groveart.com/)
Materials
stone veneer (facade)
Title
[Basilica of Sant'Andrea, Mantua, General view from the southeast, the front façade at the far left, drum and dome]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Front façade, with medieval campanile (ca. 1413, a remnant of an earlier church) in view at the far left]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Raking view of the front façade]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Tight view from the southeast, showing projection of portico block]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Tight view from the south, with projection of portico block]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Frontal view, central entry arch]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Close view of the right portion of the façade]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Close view of the right portion of the façade]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Façade, detail of the upper right corner]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Detail of coffers on barrel vault over entry]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
Title
[Basilica of Sant'Andrea, Mantua, Detail, inner wall of entry meets the back wall]
Creators
Filippo Juvara (Italian architect, 1678-1736); Leon Battista Alberti (Italian architect, 1404-1472); Lodovico Gonzaga (Italian patron, 1412-1478); Luca Fancelli (Italian architect, 1430-1495)
Description
Executed after Alberti's death by Luca Fancelli; dome added in 1733 by Filippo Juvarra. The church has a Latin-cross plan with a broad nave and a domed crossing. The nave is covered by a vast, longitudinal barrel vault. Alberti drew his inspiration principally from antique example, as he makes clear in his letter to Ludovico II Gonzaga, where he referred to the design as a templum etruscum (a temple of Etruscan type). It is likely modeled on the Basilica of Maxentius in Rome. For the first time in Alberti's architecture the internal arrangement of the building is mirrored in the façade (modeled after the Arch of Titus). This is attached not directly to the main body of the church but, as in S Sebastiano, to a frontal block accommodating a portico. These influences and the use of side chapels instead of aisles, exerted a strong influence upon church design in Rome, Milan, Venice and elsewhere. (Source: Grove Art Online; http://www.groveart.com/)
Materials
brick; stucco; stone
|
![[Rucellai Chapel, General view of the chapel, from within the sanctuary, looking toward the shrine]](https://luna.vrchost.com:443/media/iiif/119/1a1-al-cr-a1/full/250,/0/default.jpg)
![[Rucellai Chapel, View within the chamber which contains the shrine]](https://luna.vrchost.com:443/media/iiif/120/1a1-al-cr-a2/full/249,/0/default.jpg)
![[Rucellai Chapel, Interior View of the chapel, depicting altar]](https://luna.vrchost.com:443/media/iiif/121/1a1-al-cr-a3/full/250,/0/default.jpg)
![[Rucellai Chapel, View of the altar]](https://luna.vrchost.com:443/media/iiif/122/1a1-al-cr-a4/full/384,/0/default.jpg)
![[Rucellai Chapel, View looking up within the barrel-vaulted space which contains the shrine, east end]](https://luna.vrchost.com:443/media/iiif/123/1a1-al-cr-a5/full/384,/0/default.jpg)
![[Rucellai Chapel, View looking up at south wall, depicting pilaster]](https://luna.vrchost.com:443/media/iiif/124/1a1-al-cr-a6/full/384,/0/default.jpg)
![[Rucellai Chapel, Side view, from southwest, depicting front and side elevations of central shrine]](https://luna.vrchost.com:443/media/iiif/125/1a1-al-cr-b1/full/249,/0/default.jpg)
![[Rucellai Chapel, Frontal view, slightly left, depicting entrance to shrine]](https://luna.vrchost.com:443/media/iiif/126/1a1-al-cr-b2/full/247,/0/default.jpg)
![[Rucellai Chapel, View from the back, depicting apse of shrine]](https://luna.vrchost.com:443/media/iiif/127/1a1-al-cr-b3/full/250,/0/default.jpg)
![[Rucellai Chapel, View along the north elevation, depicting pilasters on shrine]](https://luna.vrchost.com:443/media/iiif/128/1a1-al-cr-b4/full/250,/0/default.jpg)
![[Rucellai Chapel, Detail of decorative marble with inlays, front elevation of shrine]](https://luna.vrchost.com:443/media/iiif/129/1a1-al-cr-b5/full/245,/0/default.jpg)
![[Rucellai Chapel, View of the shrine interior, depicting tomb and fragments of frescoes depicting the Resurrection of Christ by Alesso Baldovinetti]](https://luna.vrchost.com:443/media/iiif/130/1a1-al-cr-b6/full/250,/0/default.jpg)
![[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)
![[Palazzo Rucellai, General view of the front (south) façade, from the southeast across the small piazza (intersection)]](https://luna.vrchost.com:443/media/iiif/135/1a1-al-pr-a1/full/256,/0/default.jpg)
![[Palazzo Rucellai, View of the front (south) façade, from the southeast across the small piazza]](https://luna.vrchost.com:443/media/iiif/136/1a1-al-pr-a2/full/250,/0/default.jpg)
![[Palazzo Rucellai, View looking up the west portion of the façade; pilasters, belt course and cornice]](https://luna.vrchost.com:443/media/iiif/137/1a1-al-pr-a3/full/384,/0/default.jpg)
![[Palazzo Rucellai, West portion of the façade; depth of belt course and cornice]](https://luna.vrchost.com:443/media/iiif/138/1a1-al-pr-a4/full/249,/0/default.jpg)
![[Palazzo Rucellai, General view, looking up, where the piano nobile meets the ground floor]](https://luna.vrchost.com:443/media/iiif/139/1a1-al-pr-a5/full/384,/0/default.jpg)
![[Palazzo Rucellai, Ground floor elevation, right of east entry portal]](https://luna.vrchost.com:443/media/iiif/140/1a1-al-pr-a6/full/384,/0/default.jpg)
![[Palazzo Rucellai, Southwest corner, from the southwest]](https://luna.vrchost.com:443/media/iiif/141/1a1-al-pr-a7/full/248,/0/default.jpg)
![[Palazzo Rucellai, East (right) portal with sundial above]](https://luna.vrchost.com:443/media/iiif/144/1a1-al-pr-b1/full/249,/0/default.jpg)
![[Palazzo Rucellai, East door, left jamb, with profile view of built-in benches]](https://luna.vrchost.com:443/media/iiif/145/1a1-al-pr-b2/full/251,/0/default.jpg)
![[Palazzo Rucellai, East door, detail of cornice with volute bracket]](https://luna.vrchost.com:443/media/iiif/146/1a1-al-pr-b3/full/384,/0/default.jpg)
![[Palazzo Rucellai, East door, detail]](https://luna.vrchost.com:443/media/iiif/147/1a1-al-pr-b4/full/242,/0/default.jpg)
![[Palazzo Rucellai, View along the public seating at the building's base]](https://luna.vrchost.com:443/media/iiif/148/1a1-al-pr-b5/full/251,/0/default.jpg)
![[Palazzo Rucellai, Close frontal view of decorative cross-marks in the building's base (made to look like Roman wall construction)]](https://luna.vrchost.com:443/media/iiif/149/1a1-al-pr-b6/full/384,/0/default.jpg)
![[Palazzo Rucellai, Wall detail, at the base]](https://luna.vrchost.com:443/media/iiif/150/1a1-al-pr-c1/full/384,/0/default.jpg)
![[Palazzo Rucellai, Wall detail, at a window]](https://luna.vrchost.com:443/media/iiif/151/1a1-al-pr-c2/full/384,/0/default.jpg)
![[Palazzo Rucellai, View of the piano nobile]](https://luna.vrchost.com:443/media/iiif/152/1a1-al-pr-c3/full/384,/0/default.jpg)
![[Palazzo Rucellai, Pilaster and frieze, ground floor]](https://luna.vrchost.com:443/media/iiif/153/1a1-al-pr-c4/full/384,/0/default.jpg)
![[Palazzo Rucellai, Window arch]](https://luna.vrchost.com:443/media/iiif/154/1a1-al-pr-c5/full/384,/0/default.jpg)
![[Palazzo Rucellai, Detail of coat-of-arms above window]](https://luna.vrchost.com:443/media/iiif/155/1a1-al-pr-c6/full/384,/0/default.jpg)
![[Palazzo Rucellai, Pilaster and frieze, piano nobile]](https://luna.vrchost.com:443/media/iiif/156/1a1-al-pr-c7/full/384,/0/default.jpg)
![[Palazzo Rucellai, Pilaster and frieze, piano nobile]](https://luna.vrchost.com:443/media/iiif/157/1a1-al-pr-c8/full/384,/0/default.jpg)
![[Palazzo Rucellai, Cornice, top floor]](https://luna.vrchost.com:443/media/iiif/158/1a1-al-pr-c9/full/384,/0/default.jpg)
![[Palazzo Rucellai, General view of the court]](https://luna.vrchost.com:443/media/iiif/159/1a1-al-pr-d1/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, General view from the southeast, the front façade at the far left, drum and dome]](https://luna.vrchost.com:443/media/iiif/160/1a1-al-sa-a1/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Front façade, with medieval campanile (ca. 1413, a remnant of an earlier church) in view at the far left]](https://luna.vrchost.com:443/media/iiif/161/1a1-al-sa-a2/full/254,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Raking view of the front façade]](https://luna.vrchost.com:443/media/iiif/162/1a1-al-sa-a3/full/250,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Tight view from the southeast, showing projection of portico block]](https://luna.vrchost.com:443/media/iiif/163/1a1-al-sa-a4/full/249,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Tight view from the south, with projection of portico block]](https://luna.vrchost.com:443/media/iiif/164/1a1-al-sa-a5/full/249,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Frontal view, central entry arch]](https://luna.vrchost.com:443/media/iiif/165/1a1-al-sa-a6/full/251,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Close view of the right portion of the façade]](https://luna.vrchost.com:443/media/iiif/166/1a1-al-sa-a7/full/253,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Close view of the right portion of the façade]](https://luna.vrchost.com:443/media/iiif/167/1a1-al-sa-a8/full/250,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Façade, detail of the upper right corner]](https://luna.vrchost.com:443/media/iiif/168/1a1-al-sa-b1/full/252,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Detail of coffers on barrel vault over entry]](https://luna.vrchost.com:443/media/iiif/169/1a1-al-sa-b10/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Detail, inner wall of entry meets the back wall]](https://luna.vrchost.com:443/media/iiif/170/1a1-al-sa-b11/full/249,/0/default.jpg)