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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
Title
[Basilica of Sant'Andrea, Mantua, Façade, detail of frieze under window]
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 central arch, keystone]
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 entablature with cherubim]
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 pilaster capital]
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 where central arch meets 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 where central arch meets 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 pilaster capital]
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 stucco work 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, Entry portal, general view]
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, Entry portal, close frontal view]
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, Upper pediment]
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, Upper pediment, view of 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, Upper pediment, detail]
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, View of upper barrel vault (an arched canopy known as the ombrellone)]
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, Upper pediment, distant view, from the south]
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, Drum and dome, general view, from the southeast]
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
[Santa Maria Novella, Aerial view of Santa Maria Novella depicting context, from Boboli Gardens]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, Aerial view of Santa Maria Novella depicting context, from top of the Cathedral Campanile]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, General view, from the southeast, depicting façade with medieval church behind]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, Side view of the front façade]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, Frontal view the front façade, on center axis]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, Close side view of the main portal (the portal is by Alberti, the rest of the ground floor is medieval)]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, The main portal, frontal view (the portal is by Alberti, the rest of the ground floor is medieval)]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, The east wall (medieval)]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, The east wall (medieval)]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, Frontal view of the portal and surrounding wall (the portal is by Alberti, the rest of the ground floor is medieval)]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, Tight view along the east elevation]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, Frontal view of the blind arcade, located east of the façade]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, The blind arcade, located east of the façade, tight side view]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
Title
[Santa Maria Novella, The blind arcade, located east of the façade, detail of pointed arch]
Creators
Francesco Talenti (Italian architect, ca. 1300-1370); Giovanni Rucellai (Italian patron, 1475-1525); Leon Battista Alberti (Italian architect, 1404-1472)
Description
The second design commissioned by Giovanni Rucellai, the spectacular green-and-white patterned stone façade of S Maria Novella, was begun in or soon after 1458, the year in which Rucellai obtained rights of patronage, and was probably completed in 1470. For this project, Alberti was not only faced with the problem of devising a classical scheme for a church with a tall nave and lower side aisles, but he was also required to incorporate the beginnings of an earlier façade. To provide a visual transition from the wider lower storey to the narrower upper one, Alberti installed a pair of giant S-shaped scrolls [reversed volutes], inspired by those of Brunelleschi's lantern (designed 1436) at Florence Cathedral. (Source: Grove Art Online; http://www.groveart.com/)
Materials
marble
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![[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)
![[Basilica of Sant'Andrea, Mantua, Façade, detail of frieze under window]](https://luna.vrchost.com:443/media/iiif/171/1a1-al-sa-b2/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Façade, detail of central arch, keystone]](https://luna.vrchost.com:443/media/iiif/172/1a1-al-sa-b3/full/256,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Façade, detail of entablature with cherubim]](https://luna.vrchost.com:443/media/iiif/173/1a1-al-sa-b4/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Façade, detail of pilaster capital]](https://luna.vrchost.com:443/media/iiif/174/1a1-al-sa-b5/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Façade, detail where central arch meets the façade]](https://luna.vrchost.com:443/media/iiif/175/1a1-al-sa-b6/full/253,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Façade, detail where central arch meets the façade]](https://luna.vrchost.com:443/media/iiif/176/1a1-al-sa-b7/full/251,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Façade, detail of pilaster capital]](https://luna.vrchost.com:443/media/iiif/177/1a1-al-sa-b8/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Detail of stucco work on barrel vault over entry]](https://luna.vrchost.com:443/media/iiif/178/1a1-al-sa-b9/full/249,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Entry portal, general view]](https://luna.vrchost.com:443/media/iiif/179/1a1-al-sa-c1/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Entry portal, close frontal view]](https://luna.vrchost.com:443/media/iiif/180/1a1-al-sa-c2/full/250,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Upper pediment]](https://luna.vrchost.com:443/media/iiif/181/1a1-al-sa-d1/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Upper pediment, view of upper right corner]](https://luna.vrchost.com:443/media/iiif/182/1a1-al-sa-d2/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Upper pediment, detail]](https://luna.vrchost.com:443/media/iiif/183/1a1-al-sa-d3/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, View of upper barrel vault (an arched canopy known as the ombrellone)]](https://luna.vrchost.com:443/media/iiif/184/1a1-al-sa-d4/full/384,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Upper pediment, distant view, from the south]](https://luna.vrchost.com:443/media/iiif/185/1a1-al-sa-d5/full/252,/0/default.jpg)
![[Basilica of Sant'Andrea, Mantua, Drum and dome, general view, from the southeast]](https://luna.vrchost.com:443/media/iiif/186/1a1-al-sa-e1/full/249,/0/default.jpg)
![[Santa Maria Novella, Aerial view of Santa Maria Novella depicting context, from Boboli Gardens]](https://luna.vrchost.com:443/media/iiif/187/1a1-al-sm-a1/full/384,/0/default.jpg)
![[Santa Maria Novella, Aerial view of Santa Maria Novella depicting context, from top of the Cathedral Campanile]](https://luna.vrchost.com:443/media/iiif/188/1a1-al-sm-a2/full/384,/0/default.jpg)
![[Santa Maria Novella, General view, from the southeast, depicting façade with medieval church behind]](https://luna.vrchost.com:443/media/iiif/189/1a1-al-sm-b1/full/384,/0/default.jpg)
![[Santa Maria Novella, Side view of the front façade]](https://luna.vrchost.com:443/media/iiif/190/1a1-al-sm-b2/full/251,/0/default.jpg)
![[Santa Maria Novella, Frontal view the front façade, on center axis]](https://luna.vrchost.com:443/media/iiif/191/1a1-al-sm-b3/full/251,/0/default.jpg)
![[Santa Maria Novella, Close side view of the main portal (the portal is by Alberti, the rest of the ground floor is medieval)]](https://luna.vrchost.com:443/media/iiif/192/1a1-al-sm-c1/full/250,/0/default.jpg)
![[Santa Maria Novella, The main portal, frontal view (the portal is by Alberti, the rest of the ground floor is medieval)]](https://luna.vrchost.com:443/media/iiif/193/1a1-al-sm-c2/full/253,/0/default.jpg)
![[Santa Maria Novella, The east wall (medieval)]](https://luna.vrchost.com:443/media/iiif/194/1a1-al-sm-c3/full/384,/0/default.jpg)
![[Santa Maria Novella, The east wall (medieval)]](https://luna.vrchost.com:443/media/iiif/195/1a1-al-sm-c4/full/384,/0/default.jpg)
![[Santa Maria Novella, Frontal view of the portal and surrounding wall (the portal is by Alberti, the rest of the ground floor is medieval)]](https://luna.vrchost.com:443/media/iiif/196/1a1-al-sm-c5/full/384,/0/default.jpg)
![[Santa Maria Novella, Tight view along the east elevation]](https://luna.vrchost.com:443/media/iiif/197/1a1-al-sm-d1/full/384,/0/default.jpg)
![[Santa Maria Novella, Frontal view of the blind arcade, located east of the façade]](https://luna.vrchost.com:443/media/iiif/198/1a1-al-sm-d2/full/384,/0/default.jpg)
![[Santa Maria Novella, The blind arcade, located east of the façade, tight side view]](https://luna.vrchost.com:443/media/iiif/199/1a1-al-sm-d3/full/253,/0/default.jpg)
![[Santa Maria Novella, The blind arcade, located east of the façade, detail of pointed arch]](https://luna.vrchost.com:443/media/iiif/200/1a1-al-sm-d4/full/384,/0/default.jpg)