Tempietto Of San Pietro Of Montori f6m10

TEMPIETTO of San PIETRO of MONTORI: - The Tempietto by Donato Bramante in the cloister of San Pietro in Montorio, literally means "St. Peter at the Golden Hill" - Regarded as one of the finest example of High Renaissance. Built: 1502 AD (15th century) Builders:

Spaniards

Architect:

Donato Bramante

Cause & Date of Destruction: still in existence Modern Location: Montorio, Rome, Italy Construction System: Post and Lintel Construction, Dome Columniation Capital: Materials:

Doric Columns

Masonry (Concrete and Marble)

Tempietto is a small circular chapel erected in the courtyard of San Pietro in Montorio in Rome. The work was funded by the Catholic Monarchs, Queen Isabel of Castile and King Ferdinand of Aragon, as a monument commemorating the martyrdom of Saint Peter and was built in 1502 after designs made by Donato Bramante. late 1490’s – The commission for the Tempietto was made by Cardinal Carvajal, who was acting as the agent of the Spanish monarchs. 1502 – It have been made by 1502 as the date inscribed in the crypt. 1502 may also have been the date it was begun rather than commissioned. The date of the Tempietto's completion is also uncertain. The fact that it was not included in a guidebook to Rome that was published in 1511 suggests that it was finished after that date.

Additional infos: Tiempetto – Italian term for small temple

the church of San Pietro in Montorio sits overlooking the eastern slope of Gianicolo hill. Built in the 15th century, the gorgeous church holds copious amounts of renaissance art including frescoes from Italian masters

Currently, the temple occupies a quadrilateral courtyard and is only visible to the public from a single, fixed, exterior point. INSPIRATION: Taking inspiration from ancient buildings such as the Temple of Vesta and the Roman Pantheon, the building is a single chamber temple with a hemispherical, concrete dome at the top and a perfectly-spaced series of niches and pilasters on the main body. FUNCTION: Given the temple’s small size it does not seem to serve a great deal of functional purpose, but as a show of architectural precision and serves as a monument commemorating - in this case the crucifixion of Peter.

Additional infos: The original draft included a circular patio that was not done.

the “tempietto” sits in the middle of the larger church’s rectangular plaza, a hidden but influential piece of architectural history designed by one of the most visionary architects of the Italian renaissance.

For function: In being centrally planned and not having projecting features that designate a front facing, the Tempietto is one of the most perfect embodiments of centralized designbuilt in the Renaissance.

PARTS OF TEMPIETTO: The Monastery of San Pietro in Montorio, a Spanish monastery of the Franciscan Order, was later built around the site. The Tempietto's main parts are based on regular geometric solids.

CELLA - A two-cylinder arrangement is created by the structure's main circular core. The upper part of the cella is comprised of the drum, which s the hemispherical dome.

PERISTYLE - the ring of columns that surrounds it. PARTS: 1 – Cella 2 – Peristyle Collonade 3 – Chapel Cella is formed by 16 Doric columns with also 16 pilasters, with 8 niches on the exterior. Height: 46 feet Diameter of colonnade: 29 feet

Additioanal infos

Relative Dimensions of the Cylinders

The two cylinders formed by the building's main parts are related to each other mathematically. The width of the wider cylinder forming the peristyle is equal to the height of the narrower cylinder forming the cella.

The drum and dome are of equal height. Columns: The sixteen columns forming the peristyle were constituted from both old and new parts. (Re-using ancient building materials was a common practice in the Renaissance.)

The gray-granite shafts, which stood out in contrast to the lighter marble forming the building, had originally been part of an ancient Roman building. The marble capitals and bases were carved in the Renaissance. Wall Articulation Sixteen pilasters on the same radii as the sixteen columns articulate the cella wall on each story. This arrangement of pilasters is not directly reflected on the interior, where eight pilasters stand between large and small niches. Cornice: The metopes and cornice external triglyphs is repeated in the cornice and the internal wall of the body, reducing the steps in just keeping the plant and the standard. The metopes external decoration which alludes to the martyrdom of Saint Peter, is available from the main building. The metopes depict papal symbols and items used in prayers.

Additional infos:

Suitability of the Doric Order The Doric order's plainness and masculinity lent a gravity that was in accordance with the building's solemn purpose of marking the place of St. Peter's martyrdom.

this small church seated only ten worshipers. It is the earliest of the great achievements that made Rome the new center of Italian art during the first quarter of the 16th century.

Niches: The diagonal quadrants of both the building and the courtyard were to have been composed of apsidal niches flanking openings, which took the form of windows. Because the eight pilasters, half a many as on the exterior, are placed between large and small niches, their spacing is in pairs and does not correspond to that of the sixteen pilasters of the exterior. Interior of the Dome: Inside the dome, the illusion of seeing a sky beyond the dome's ribs is suggested by the painting of gold stars against a blue sky. In the Renaissance, such images were understood as references to the Christian Heaven. Crypt: On the back side just beyond the colonnade, a pair of stairs leads down to the crypt. The position corresponding to the ground-story entrance is occupied by an altar. A circular window through the ceiling of the crypt enables visitors on the ground storey to see the sacred spot below through the floor.

Additional infos:

The large niche opposite the entrancecontains a statue of St. Peter holding the keys to the kingdom in one hand and the gospel in the other. On the pedestal below at

around eye level is a relief of St. Peter's crucifixion,which was carried out in an upside-down position.

The space is evenly illuminated by placing the windows on multiple levels and facings.