It is remarkable that the German Pietro di Giovanni, who served in the service (1386–1402) of the Directorate for the Construction of the Council of Florence, is called the initiator of this trend, who has taken root in the city on the banks of the Arno. The great masters, whose names were on everyone’s lips, had predecessors in this decorative area who created, although somewhat helplessly, but already at the transition from the 14th to the 15th century, filling the frames in the ancient spirit. It goes without saying that on occasion both the meander and the wavy line come into their own again.
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Trophies, candelabra, cornucopias, masks, wreaths, garlands, branches with fruits and flowers, bundles of fruits and ribbons are often depicted in the ancient style, but often also full of new life, noticed directly by nature. The winged and wingless naked boys of the Hellenistic time, while they have not yet become Christian angels, reappear in the form of cupids, which have a purely decorative meaning. The Late Antique pilaster appears again, decorated inside the frames with leaves and curls going up, often growing from vases.
But earlier and most decisively, the imitation of ancient art was manifested in ornaments and ornamental motifs, which, in their light form, have now become inaccurately called arabesques in Italian artistic language. 330) and capitals, often incomprehensible, but with a taste of executed styles of Corinthian and Ionic, Tuscan-Doric or complex (composite ) style the cross vaults again turned into flat coverings or domes, the pointed arches again turned into semicircular, which, as a general rule, they began to prefer to beams even for connecting columns. Pillars, regardless of pilasters, again began to move into columns for the most part with Attic bases (see Vol. In particular, the Gothic forms were now replaced by antiquities. In general, the plan and the walls covered with pilasters imitating antiques, similar to the decorations set forth, mattered, dimensions and proportions dominated. The study of the constructive system of ancient architecture, the ancient Greek severity of which was almost completely lost in the remnants of the late Roman era, the less led Florentine masters again to a strict construction that they were not completely aware of the organic regularity of ancient forms after liberation from the Gothic foundations. We will do well if we capture these names in our memory from the very beginning.Ī new spirit of the new century, even in Tuscan architecture, no longer erecting Gothic buildings, was useful primarily in the planning of space. As an architect, he called Brunelleschi, whom he himself soon joined, as sculptors Donatello, Ghiberti and Luca della Robbia, as a painter, Masaccio alone, and we argue, as opposed to Janicek's objectionable objection, that Alberti had in mind painter with that name. The masters, whom he pointed out on this subject in his essay on painting (Della pittura), are still recognized as pioneers of the early Florentine Renaissance. When Leon Battista Alberti, an outstanding Florentine scientist and architect, returned in 1435 from the last exile to his hometown, he was pleasantly amazed to see the successes of the “new direction” that great architects, sculptors and painters brought to life here.
as opposed to the late Renaissance of the sixteenth century.Īt this time, the great versatile artists became the head of the artistic movement primarily in Tuscany, which in the spiritual sense remained Italy Italy, and in Tuscany, especially in Florence, where large noble and merchant families from whom the Medici at the end of the XV century were preparing to exchange the stool merchant on the throne of the sovereign, already throughout the century, vied with each other in the patronage of the arts. Therefore, in relation to architecture, we are also talking about the early Italian Renaissance of the 15th century. The revival of ancient antiquity is manifested therefore in Italy primarily in architecture, as well as in the frames, ornaments and backgrounds of sculpture and painting. national traditions in a new, inseparable whole. If the visual arts of the Apennine Peninsula at that time so resolutely resurrected the language of classical antiquity even in the field of centenary poetry and science that we can rightly call their creation the Renaissance, then they merged the ancient forms together with their own, which passed through all the Middle Ages. the art of the Renaissance, which was a turning point in the cultural development of Europe, was experiencing the greatest flourishing in Italy.
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