Who What Where WhenWHAT
WHERE
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Title
[Musée d'Orsay, General view of steel canopy, west façade of new additions by ACT, depicting new steel and glass enclosure]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, Close side view of steel canopy, west façade of new additions by ACT, depicting new steel and glass enclosure]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, Frontal view of new steel and glass walls, north façade, at base of arches]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, Frontal view into the museum, from main entry at west end, on axis]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, Vertical view into the museum, from the south terrace, west side]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, Diagonal general view of the interior space, from southeast corner]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, General view into the museum, from top of northeast tower, depicting lateral terraces]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, General view of the north terrace, from top of south tower]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, View of the north terrace, from top of south tower]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, Frontal view of the north terrace, on a transverse axis]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, General view of the west area, from the north observation deck tower]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, View of the west façade, depicting silhouettes of people as they walk on bridges]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, Frontal view of open web bridge, north side]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, View of area under web bridge]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, Side view of the tower which leads to the web bridge]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, View of the north observation deck tower]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, View of the north observation deck tower]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
Title
[Musée d'Orsay, General view of the east end, below the towers, depicting stairs to north terrace]
Creators
ACT Architecture (French architectural firm, founded ca. 1978); Gaetana Aulenti (Italian architect, 1927-2012); Victor Alexandre Frédéric Laloux (French architect, 1850-1937)
Description
The Gare d'Orsay was opened in 1900 (to coincide with the Exposition Universelle) but with cessation of rail service in 1939 to the station because of the short platforms, lay abandoned until it was transformed into an art gallery and re-opened as the Musée d'Orsay in 1986. [Parts of the building, including the hotel had remained in use until 1973.] The change from steam to non-polluting electric power traction inside allowed the original rail station to be designed in an opulent single integrated space which influenced later large railway stations in the US. ACT Architecture members: Renaud Bardon, Pierre Colboc and Jean-Paul Philippon. (Source: Musée d'Orsay [website]; http://www.musee-orsay.fr/en/)
Materials
glass; stone; cast iron; tile
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
[Architecture Toscane, Elevation of Palazzo Rucellai]
Creators
Auguste Henri Victor Grandjean de Montigny (French author, 1776-1850)
Description
Architecture toscane; ou, Palais, maisons et autres édifices de la Toscane, mesurés et dessinés par A. Grandjean de Montigny et A. Famin. Originally published Paris: Salmon, 1846. Reprinted with a preface and description of plates, by John V. Van Pelt; Pencil Points Press, New York 1923 109p. (Source: University of Toronto Libraries; http://main.library.utoronto.ca/)
Materials
ink on paper (offset lithography)
Title
[Architecture Toscane, Elevation details (of ornamentation), Palazzo Rucellai]
Creators
Auguste Henri Victor Grandjean de Montigny (French author, 1776-1850)
Description
Architecture toscane; ou, Palais, maisons et autres édifices de la Toscane, mesurés et dessinés par A. Grandjean de Montigny et A. Famin. Originally published Paris: Salmon, 1846. Reprinted with a preface and description of plates, by John V. Van Pelt; Pencil Points Press, New York 1923 109p. (Source: University of Toronto Libraries; http://main.library.utoronto.ca/)
Materials
ink on paper (offset lithography)
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)
|
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![[Musée d'Orsay, Close side view of steel canopy, west façade of new additions by ACT, depicting new steel and glass enclosure]](https://luna.vrchost.com:443/media/iiif/102/1a1-ag-mo-b2/full/256,/0/default.jpg)
![[Musée d'Orsay, Frontal view of new steel and glass walls, north façade, at base of arches]](https://luna.vrchost.com:443/media/iiif/103/1a1-ag-mo-b3/full/384,/0/default.jpg)
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![[Musée d'Orsay, Diagonal general view of the interior space, from southeast corner]](https://luna.vrchost.com:443/media/iiif/106/1a1-ag-mo-c3/full/384,/0/default.jpg)
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![[Musée d'Orsay, General view of the north terrace, from top of south tower]](https://luna.vrchost.com:443/media/iiif/108/1a1-ag-mo-c5/full/384,/0/default.jpg)
![[Musée d'Orsay, View of the north terrace, from top of south tower]](https://luna.vrchost.com:443/media/iiif/109/1a1-ag-mo-c6/full/257,/0/default.jpg)
![[Musée d'Orsay, Frontal view of the north terrace, on a transverse axis]](https://luna.vrchost.com:443/media/iiif/110/1a1-ag-mo-c7/full/257,/0/default.jpg)
![[Musée d'Orsay, General view of the west area, from the north observation deck tower]](https://luna.vrchost.com:443/media/iiif/111/1a1-ag-mo-d1/full/384,/0/default.jpg)
![[Musée d'Orsay, View of the west façade, depicting silhouettes of people as they walk on bridges]](https://luna.vrchost.com:443/media/iiif/112/1a1-ag-mo-d2/full/384,/0/default.jpg)
![[Musée d'Orsay, Frontal view of open web bridge, north side]](https://luna.vrchost.com:443/media/iiif/113/1a1-ag-mo-d3/full/384,/0/default.jpg)
![[Musée d'Orsay, View of area under web bridge]](https://luna.vrchost.com:443/media/iiif/114/1a1-ag-mo-d4/full/257,/0/default.jpg)
![[Musée d'Orsay, Side view of the tower which leads to the web bridge]](https://luna.vrchost.com:443/media/iiif/115/1a1-ag-mo-d5/full/258,/0/default.jpg)
![[Musée d'Orsay, View of the north observation deck tower]](https://luna.vrchost.com:443/media/iiif/116/1a1-ag-mo-e1/full/258,/0/default.jpg)
![[Musée d'Orsay, View of the north observation deck tower]](https://luna.vrchost.com:443/media/iiif/117/1a1-ag-mo-e2/full/256,/0/default.jpg)
![[Musée d'Orsay, General view of the east end, below the towers, depicting stairs to north terrace]](https://luna.vrchost.com:443/media/iiif/118/1a1-ag-mo-e3/full/384,/0/default.jpg)
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![[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)
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![[Palazzo Rucellai, Wall detail, at the base]](https://luna.vrchost.com:443/media/iiif/150/1a1-al-pr-c1/full/384,/0/default.jpg)