Brunelleschi, Old Sacristy, San Lorenzo, Florence, begun c. 1421발음듣기
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Brunelleschi, Old Sacristy, San Lorenzo, Florence, begun c. 1421
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That's a room that is traditionally used in a church for the priest to vest, that is to put on the garments for a religious ritual, but in this case, it was intended to be a mausoleum for the founder of the Medici dynasty.발음듣기
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In the early 1400s when a group of people decided to rebuild the church that was here, the families contributed money.발음듣기
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Dr. Harris: He got a bigger space, he paid more money and he hired Brunelleschi, he was smart.발음듣기
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Dr. Harris: Here we are in Brunelleschi's Old Sacristy, which is the epitome of Renaissance architecture.발음듣기
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First of all, there's a sense of solemnity, of calmness, that is, in part, a result of the extraordinary sense of geometry here and order and rationalism.발음듣기
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So many of the characteristics that we associate with 15th century Florentine Renaissance thinking humanism.발음듣기
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Dr. Harris: Instead of the mysterious, soaring spaces of a gothic church, we have a space built on the fundamental geometric shapes of the square and the circle and a sense of clarity.발음듣기
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Of course, this is a burial site, so the idea of the eternal, the idea, in fact, of resurrection is crucial here.발음듣기
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Then it's surmounted by this beautiful hemisphere of dome and one of the ways in which art historians understand this is that the circle is a reference to the spirituality and geometry of heaven.발음듣기
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Dr. Zucker: Whereas we inhabit the much more rectilinear space, the earthly space, the space of gravity.발음듣기
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He's done this by borrowing a technique that we find in Byzantine architecture, in thinking about Hagia Sophia which is to use a pendentives.발음듣기
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In this case, Brunelleschi's created these perfect hemispheres, these perfect half circles that rise up, but don't quite touch the bottom of the dome, which creates a sense of lightness.발음듣기
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It is this sort of tension between that circle and that square that so informs this entire room, but it also informs it's symbolism.발음듣기
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Dr. Harris: The grey-ish green of the Pietra Serena, which Brunelleschi and Michelangelo both used a lot, stone that was local to Florence.발음듣기
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Dr. Zucker: That frames these broad, open planes of a cream colored stucco that really helps to emphasize the geometry of this space.발음듣기
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Dr. Harris: It sort of outlines the squares and rectangles and semi-circles and circles, so you really read the geometry.발음듣기
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One of the things that's remarkable about Brunelleschi is that he is clearly borrowing so many forms from ancient Greek and Roman art.발음듣기
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The pilasters and the fluting and the capitals and also this rational approach to architecture.발음듣기
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Dr. Zucker: He is, he's using it as a kind of license to begin to construct a kind of rationalism that was for his modern world.발음듣기
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Brunelleschi had gone to Rome and actually studied antique architecture, so we can certainly see that influence, but you've seen nothing like this in Rome.발음듣기
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