Pius II’s Description of the Cathedral in Pienza and its Interior deals not only with external influence of architectural styles on construction of Renaissance buildings in Italy but also reveals how these influences were transferred into their formal decoration.
Antique Influence
Pius stresses the antique style when referring to the facade that emulates the ‘ancient temples’. Its simplicity and regularity of articulation, rhythm of vertical and horizontal divisions, high pedestals supporting the two orders of columns and the pediment are reminiscent of the antique architecture.
However, there is only a mere indication of entablature, which, in the antique temples would have been one of the defining elements of the facade. Also, the capitals are not exact recreations of the classical model but interpretations of it.
Bernardo Rossellino's Interior Innovations
Rossellino created his own version, just as Brunelleschi had done when he combined the Corinthian and Composite orders for the Loggia Degli Innocenti capitals. Another Rossellino’s innovative adaptation was in inserting short pillars between the capitals and the vaults in the interior. This was a technical as well as aesthetic solution in order to accommodate the classical style to the requirements of a contemporary building.
The main objective of these adaptations was to build a well-illuminated interior, an aspect of northern hall churches that Pius wanted to recreate in his cathedral. To achieve an even distribution of light, the nave and the aisles were of equal height. There are several other elements derived from the northern Gothic, such as the rib vaults and traceried pointed arch windows. The oculus to which Pius refers as ‘a great eye like that of the Cyclops’ is, in fact, reminiscent of the Gothic rose window.
Altarpieces in Pienza Cathedral
The design of the altarpieces executed by the Sienese painters was also affected by the outside influence. This is most evident in Sano di Pietro’s representation of the Virgin with four saints. The frame of the painting in the form of a pala, a temple-fronted single panel was a modern Florentine design.
However, Pius intended to associate his social standing with the prestige of his city and the altarpieces reflect this in that some aspects of their technical execution and their iconography remain traditionally Sienese. This is mainly visible in the decorative tooling of the gold backgrounds.
The iconography emphasizes his familial and political links with Siena. The cathedral itself was dedicated to the Virgin and the altarpieces represent the Sienese saints, for example St Catherine who was recently canonized by Pius. The representation of Pope Pius I and Pope Calixtus II further stresses Pius’s links and loyalty to Rome.
Renaissance Architecture in Italy Incorporated Classical and Gothic Styles
Pius’ design was clearly inspired by the newly revived classical style, but it also incorporated features of the northern Gothic style which he encountered in Germany and Austria, while some aspects of the cathedral are in keeping with the Sienese tradition. This shows that the Renaissance architecture in Italy was not a strict emulation of a pure architectural language of antiquity but often a mixture of different styles which might result in interesting novelty features.
Sources
- Richardson, Carol M: Locating Renaissance Art, Yale University Press, 2007
- Woods, Kim W: Making Renaissance Art, Yale University Press, 2007
- Richardson Carol M, Woods Kim W and Franklin Michael W, Anthology of Primary Sources, Blackwell Publishing, 2007
Zuzana Minarikova - I live in London and work in publishing in Bloomsbury which is an exciting part of London, full of museums, galleries, bookshops and ...
