Brunelleschi, Pazzi Chapel

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Brunelleschi, Pazzi Chapel발음듣기

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(piano music) [Steven] One of the great Renaissance spaces is the Pazzi Chapel at Santa Croce, and we're sitting in it, and we're sitting on a bench that lines the wall, because this was originally used as a chapter house.발음듣기

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[Beth] Meaning a meeting room for the monks of Santa Croce.발음듣기

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[Steven] And so they would have sat right where we are sitting.발음듣기

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[Beth] Just off the cloister.발음듣기

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[Steven] Which is the traditional place for the chapter house.발음듣기

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[Beth] So we're really looking at something that is a true early-Renaissance work of architecture by Brunelleschi, although it was completed after his death, and we see all of those elements that we come to expect of Brunelleschi.발음듣기

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The use of pietra serena, the grayish green stone that articulates the decorative elements on the walls.발음듣기

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[Steven] But it also articulates the walls themselves, and the space and the dominance of a kind of perfect geometry.발음듣기

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[Beth] We immediately have a sense of rectangles and squares and circles and semicircles, but my overwhelming feeling on walking in was that I was almost walking into an ancient Roman temple.발음듣기

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[Steven] Ah, okay; so this is very close to a central planned space; that is to say, something like the Pantheon, and there is an attention to the kind of perfect geometries and centrality that we really do associate with the ancient world, and so I think you're right.발음듣기

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I think he's working very hard to create this classicism, this revival of the standards and the ideas of ancient Rome.발음듣기

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[Beth] Lovely fluted pilasters, long walls, and the hemispherical dome with an oculus in the center, and windows piercing its sides, so you have this really lovely light that comes into the chapel, a dome on pendentives, and in the pendentives, those triangular spaces that the dome rests on. We see roundels.발음듣기

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[Steven] Terracotta, and these would have been made by Luca della Robbia, who had recently perfected the ability to fire at a high-enough temperature to vitrify.발음듣기

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What he used, what we consider modern glazes.발음듣기

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[Beth] Really is that sense of a centrally-planned space.발음듣기

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Wanting to create a space that wasn't a basilica.발음듣기

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This is a chapter house and not a church, but still that desire to work with a centrally-planned space, that becomes even more important in the high Renaissance, for artists like Bramante and Leonardo da Vinci.발음듣기

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[Steven] You walk into this space and you have this overwhelming feeling that you are in a completely constructed, ordered, designed environment.발음듣기

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This is a space that is rational, where everything is subservient to the overall design conception.발음듣기

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We've been talking about this space as if it were a central plan, but it's not quite.발음듣기

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[Beth] No.발음듣기

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[Steven] It is a little bit broader than it is long, and when you look up at that central dome, which is clearly dominant, there are small barrel vaults on either side.발음듣기

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[Beth] He took a rectangular space, and made it, as much as possible, into a square with a dome on top; two little barrel vaulted spaces on either side.발음듣기

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[Steven] And that's emphasized, not only by the geometry of the vaulting, but also of the geometry of the paving.발음듣기

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The dome clearly constructs the space, and does give it that overwhelming feeling of classicism. (piano music)발음듣기

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