By Jean Castex
Covering all areas of Italy—from Turin's Palace of work in northern Italy to the Monreale Cathedral and Cloister in Sicily—and all classes of Italian architecture—from the first-century Colosseum in Rome to the Casa Rustica residences in-built Milan within the 1930s—this quantity examines over 70 of Italy's most crucial architectural landmarks. Writing in an authoritative but attractive type, Jean Castex, professor of architectural historical past on the Versailles college of structure, describes the positive factors, services, and historic significance of every constitution. along with idetifying position, variety, architects, and classes of preliminary development and significant renovations, the cross-referenced and illustrated entries additionally spotlight architectural and old phrases defined within the Glossay and finish with an invaluable directory of extra details assets. the amount additionally bargains ready-reference lists of entries by way of place, architectural variety, and period of time, in addition to a normal bibliography, a close topic index, and a entire introductory evaluate of Italian architecture.
Entries disguise significant architectural buildings in addition to smaller websites, together with every little thing from the well known dome of St. Peter's on the Vatican to the Fiat Lingotto Plant in Turin. excellent for faculty and highschool scholars, in addition to for normal readers, this accomplished examine the structure of Italy is an fundamental addition to each architectural reference collection.
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Additional resources for Architecture of Italy (Reference Guides to National Architecture)
In the center of a vast elliptical colonnade, a dynastic chapel was built, inspired, as might be expected, by the Roman Pantheon. It was ﬁnished in 1831. Trieste improved its Grand Canal in 1756 with P. di Nobile’s church resembling the Pantheon, Sant’ Antonio Nuovo (1825–1849). Introduction xlix Turin, when its walls were demolished to provide space for a ring of boulevards, created four entrance-squares of large dimensions (over 1,000 feet long, on average). Two of them were Neoclassical: on the north side, the Porto Palazzo, opening onto the road to Milan (the plan of the architect, Lombardi, was designed in 1818 and realized in 1826–1830); on the east side, opening to the Po River and the magniﬁcent landscape of the Monferatto Hills, the Piazza Vittorio Veneto (or Piazza Po) by the architect G.
Alberti died in 1472. The new architectural manner spread to different humanist centers such as Pienza (in southern Tuscany), Urbino (a hill city, not far from the Adriatic coast), Ferrara (on the Po River), and Mantua. Prince Frederico di Montefeltro, who ruled Urbino, was the archetypal humanist leader of the period. His activity as a “condotierre,” a mercenary commander, responded to the military demands in a period of instability throughout Italy. But he was also a political leader, a competent scholar, and a lover of art.
An intense debate that took place in 1366–1367 altered the cathedral’s future. The church would defer to Roman antiquity, and in 1368, a large brick model was made that all future builders had to respect. In effect, Brunelleschi’s dome was designed ﬁfty years before he took command of its construction. As Frankl and Crossley wrote, Talenti’s decision had led, “not to purer Gothic style,” but to the Brunelleschian Renaissance (Frankl and Crossley 2000, 213). When cities such as Bologna and Milan were the patrons of cathedrals, they tended to commission overly large churches that took centuries to ﬁnish because of the expense.