Renaissance Architecture Part II (1) (1).pdf

Renaissance Architecture Part II Influence of Italian Renaissance thru out other European States Map of Europe 1500s Spread throughout Europe: Northern Renaissance Northern Renaissance: Renaissance that occurred in Europe north of the Alps. From the last years of the 15th century, its Renai...

Renaissance Architecture Part II Influence of Italian Renaissance thru out other European States Map of Europe 1500s Spread throughout Europe: Northern Renaissance Northern Renaissance: Renaissance that occurred in Europe north of the Alps. From the last years of the 15th century, its Renaissance spread around Europe. It is called the Northern Renaissance because it occurred north of the Italian Renaissance, this period became the German, French, English, Low Countries, Polish Renaissances and in turn other national and localized movements, each with different attributes. Socio-economic, political background: Northern Renaisance 16th century saw the economic and political ascendancy of: France and Spain, and then later of England, Germany, Poland and Russia and the Low Countries As a result, these areas began to import the Renaissance style as indicators of their new cultural position it was not until about 1500 and later that signs of Renaissance architectural style began to appear outside Italy. Spread throughout Europe: Northern Renaissance Italian architects were highly sought after: Sebastiano Serlio (France), Aristotile Fioravanti (Russia), Francesco Fiorentino (Poland) Soon non-Italians were studying Italian architecture and translating it into their own idiom. Philibert de l’Orme (1510–1570) :France Juan Bautista de Toledo (died: 1567): Spain, Inigo Jones (1573–1652) :England Elias Holl (1573–1646) : Germany Spread throughout Europe: Northern Renaissance Authors of Renaissance Books Androuet du Cerceau in France Hans Vrede- man de Vries in the Netherlands, Wendel Dietterlin, author of Architectura in Germany. Renaissance Architecture in France Socio-economic & political background “French Renaissance Architecture” 1  Early years of the 16th century: the French were involved in wars in northern Italy, bringing back to France not just the Renaissance art treasures as their war booty, but also stylistic ideas. In the Loire Valley a wave of building was carried and many Renaissance châteaux appeared at this time, the earliest example being the Château d’Amboise (c. 1495) in which Leonardo da Vinci spent his last years. The style became dominant under Francis I. In pop culture French Renaissance Architecture a style which was prominent between the late 15th and early 17th centuries in the Kingdom of France. It succeeded French Gothic architecture. The style was originally imported from Italy next after the Hundred Years’ War by the French kings Charles VII, Louis XI, Charles VIII, Louis XII, and François I. Divided into two parts: The Italian Period Classical Influence First Period: The Italian Period Several notable royal châteaux in this style were built in the Loire Valley, notably the : Château de Montsoreau, Château de Langeais, Château d’Amboise, Château of Blois, Château of Gaillon, Château of Chambord, Château de Fontainebleau. First Period: The Italian Period Château de Montsoreau First Period: The Italian Period Château de Montsoreau First Period: The Italian Period Château d’Amboise First Period: The Italian Period Château d’Amboise Plan First Period: The Italian Period Château de Fontainebleau Architects Philibert de l’Orme Sebastiano Serlio Gilles Le Breton Jean Bullant First Period: The Italian Period Château de Chambord Architect: Domenico da Cortona Second Period: Classical Influence 2  commenced in about 1540, late in the reign of François I, and continued until the death of his successor Henry II in 1559. This period is sometimes described as the high point of the style. It included work by Italian architects including Giacomo Vignola and Sebastiano Serlio, but more and more it was made by French architects, particularly Philibert Delorme, Jacques I Androuet du Cerceau, Pierre Lescot and Jean Bullant, and by the sculptor Jean Goujon. Second Period: Classical Influence Chateau d’Anet Architect: Philibert de l’Orme Built for Diane de Poitiers, the mistress of Henry II of France. Château d’Anet Second Period: Classical Influence Château d’Écouen (1538–1550) Design by Jean Bullant features the clas- sical orders on the portico on its western facade. it was inspired by the portico of the Pantheon in Rome. The columns of the facade rise all the way to the roofline. The interior is also remarkable, with some of the original ceramic tile floor still in place and highly decorated fireplaces. This château is now the French National Museum of the Renaissance Château d’Écouen Second Period: Classical Influence Lescot wing of the Louvre (1546–1553) One of the last commissions of François I, given just a year before his death, was the reconstruction of a part of the Louvre Palace, built by Charles V, in order to make it more comfortable and palatial. The project was undertaken by Pierre Lescot, a nobleman and architect, and was modified by the new King, Henry II, who added a new pavil- ion on the southwest to serve as his residence. The result was a skillful blend of Italian and French elements. Lescot wing of the Louvre (1546–1553) Lescot wing of the Louvre (1546–1553) Lescot wing of the Louvre (1546–1553) Caryatids by Jean Goujon Hôtel d’Assézat (1555–1556 & 1560-1562) 3  built by architect Nicolas Bachelier and, after his death in 1556, by his son Dominique, is an outstanding example of Renaissance palaces architecture of southern France, with an elaborate decoration of the cour d’honneur (”court- yard”) influenced by Italian Mannerism and by classicism. As one of the first manifestations of the French classicism, its exceptional ornamentation and pristine condition earn it a mention in every overview of French Renaissance Hôtel d’Assézat French Renaissance Religious Architecture Religious Architecture in French Renaissance Renaissance had less influence on French religious architecture; cathedrals and churches, for the most part, continued to be built or rebuilt in the Flamboy- ant Gothic style. However, a few classical elements introduced during the Renaissance appeared in churches. Examples include the classical portals of the churches of SaintGermain l’Auxerrois, directly across from the new Lescot Wing of the Louvre, and Saint-Nicolas-desChamps in Paris. The latter was borrowed directly from the Palace of Tournelles, designed by Philibert Delorme. Religious Architecture in French Renaissance The church of SaintÉtienne-du-Mont (1530– 1552), near the Pantheon in Paris, has a Gothic choir, but a facade with a classical pediment, balustrades with classical columns a remarkable rood, or bridge, crossing the nave. Religious Architecture in French Renaissance The Church of Saint-Eustache, Paris (1532–1640), in the center of Paris, was begun by François I and is second in size only to NotreDame de Paris among Paris churches. It is a hybrid of Flamboyant Gothic and Renaissance styles. The exterior, plan and vaulted ceiling are Gothic, but the orders of classical columns and other Renaissance elements appear in the interior. Religious Architecture in French Renaissance One of the finest religious monuments of the French Renaissance is the tomb of François I and his wife Claude de France, located within the Basilica of Saint Denis (1547–1561). It was created by the architect Philibert Delorme and the sculptor Pierre Bontemps. The principal element is a triumphal arch, modeled after the Arch of Septimius Severus in Rome, crowned with four statues of fame, as well as the King and Queen. The vault of the arch and the entablement are richly decorated with sculptural decoration of olive leaves and other classical 4 themes, and with tablets of black and white marble. The tall, slender columns give the tomb an exceptional lightness and grace. French Renaissance Architects Domenico da Cortona Called “Boccador” was an Italian architect, a pupil of Giuliano da Sangallo he was brought to France by Charles VIII and remained in the service of François I. Also designed the : L’église Saint-Eustache, Paris (Saint-Eustache church) Philibert de l’Orme a French architect and writer one of the great masters of French Renais- sance architecture. His surname is also written De l’Orme, de L’Orme, or Delorme. His Masterpiece is: Château d’Anet for Diane de Poitiers, the mistress of Henry II of France. Other Works of Philibert de l’Orme Château de Saint-Maur (1541), demolished in 1796 Tomb of François Ie in the Basilica of Saint-Denis, Paris (1547) Château d’Anet (1547-1555), built for Di- ane de Poitiers. Only one wing remains. Plans of the Chapel of Saint-Éloi,Paris (1550-1566), (Long attributed, but not documented. Only a portion of the fa- cade remains) Attribution du château d’Acquigny Facade of the residence of the Vicomte of the Duchy of Uzès (attributed) Completion of Sainte-Chapelle at the Château de Vincennes (1552) Château de Villers-Cotterêts, southern portion( 1547-1559) Chapel of the Château of Villers-Cotterêts (1552-1553) Royal Château of Saint-Léger-en-Yvelines (demolished) Château de Meudon (at- tributed) Château de Montceaux Château de Thoiry (1560s) ; The bridge upon which the Château de Chenonceau is constructed Portions of the Louvre Por- tions of the new Chateau of Saint-Germain-en-Laye Portal of Château d’Écouen, now the National Museum of the French Renaissance (mid 16th century). The wing he designed was destroyed in 1787, but vestiges are displayed inside the Chateau. Roofs of the towers of the Château de Bonnemare. Pierre Lescot French architect active during the French Renaissance. His most notable works include the : Fontaine des Innocents & the Lescot wing of the Louvre in Paris. He played an important role in the introduction of elements of classical archi- tecture into French architecture Fontaine des Innocents 5  a monumental public fountain located on the place Joachimdu-Bellay in the Les Halles district in the 1st arrondissement of Paris, France. Originally called the Fountain of the Nymphs, it was constructed between 1547 and 1550 by architect Pierre Lescot and sculptor Jean Goujon in the new style of the French Renaissance. It is the oldest monumental fountain in Paris Jacques I Androuet du Cerceau well-known French designer of architecture, ornament, furniture, metalwork and other decorative designs during the 16th century, and the founder of the Androuet du Cerceau family. He introduced Renaissance architecture to France with the assistance of Pierre Lescot, Philibert Delorme and Jean Bullant. Engraved design for a cabinet, by Jacques I Androuet du Cerceau, ca. 1550s: such a cabinet would have been executed in contrasting walnut and ebony, its top a low plinth for sculpture or a display of silver Sebastiano Serlio an Italian Mannerist architect, who was part of the Italian team building the Palace of Fontainebleau. Serlio helped canonize the classical orders of architec- ture in his influential treatise variously known as : I sette libri dell’architettura (”Seven Books of Architecture”) or Tutte l’opere d’architettura et prospetiva (”All the works on architecture and perspective”). Sebastiano Serlio Born in Bologna Serlio went to Rome in 1514, and worked in the atelier of Baldassare Peruzzi, where he stayed until the Sack of Rome in 1527 put all architectural projects on hold for a time. Like Peruzzi, he began as a painter. Serlio’s publications, rather than any spectacular executed work, attracted the attention of François I. Serlio’s career took off when the king invited him to France, to advise on the construction and decoration of the Château of Fontainebleau, where a team of Italian designers and craftsmen were assembled (including Giacomo Barozzi da Vignola and Benvenuto Cellini). Serlio took several private commissions, but the only one that has survived in any recognizable way is the Chateau of Ancy-le-Franc, built about 1546 near Tonnerre in Burgundy Renaissance Architecture in Germany Renaissance Architecture in Germany The Renaissance in Germany was inspired first by German philosophers and artists such as Albrecht Dürer and Johannes Reuchlin who visited Italy. Ger- man Renaissance : a cultural and artistic movement that spread among German thinkers in the 15th and 16th centuries The Renaissance was largely driven by the renewed interest in classical learning, and was also the result of rapid 6 economic development. At the beginning of the 16th century, Germany (re- ferring to the lands contained within the Holy Roman Empire) was one of the most prosperous areas in Europe despite a relatively low level of urbanization compared to Italy or the Netherlands. It benefited from the wealth of certain sectors such as metallurgy, mining, banking and textiles. More importantly, book-printing developed in Germany, and German printers dominated the new book-trade in most other countries until well into the 16th century. Renaissance Architecture in Germany Many examples of Brick Renaissance buildings can be found in Hanseatic old towns, such as Stralsund, Wismar, Lübeck, Lüneburg, Friedrichstadt and Stade. Notable German Renaissance architects include Friedrich Sustris, Benedikt Rejt, Abraham van den Blocke, Elias Holl and Hans Krumpper. In pop culture Protestant Reformation: Martin Luther Renaissance Architecture in Germany Important early examples of this period are : Landshut Residence, Schloss Heidelberg, Johannisburg Palace in Aschaffenburg, Schloss Weilburg, the City Hall and Fugger Houses in Augsburg St. Michael in Munich. A par- ticular form of Renaissance architecture in Germany is the Weser Renaissance, with prominent examples such as the City Hall of Bremen and the Juleum in Helmstedt. Landshut Residence Schloss Heidelberg Schloss Johannisburg Architect: Georg Ridinger Schloss Weilburg Schloss Weilburg Fuggerei Fuggerei is the world’s oldest social housing complex still in use walled enclave within the city of Augsburg, Bavaria. It takes its name from the Fugger family and was founded in 1516 by Jakob Fugger the Younger (known 7 as ”Jakob Fugger the Rich”) as a place where the needy citizens of Augsburg could be housed. By 1523, 52 houses had been built, and in the coming years the area expanded with various streets, small squares and a church. The gates were locked at night, so the Fuggerei was, in its own right, very similar to a small independent medieval town. It is still inhabited today, affording it the status of being the oldest social housing project in the world. Fuggerhäuser The secular building was the first Renaissance style building constructed north of the Alps. He bought other neighboring houses from 1517 onwards and integrated them into the complex Augsburg City hall administrative centre of Augsburg, Bavaria, Germany, and one of the most significant secular buildings of the Renaissance style north of the Alps. It was designed and built by Elias Holl, Stadtbaumeister (Master Builder of the town), in 1615–1624. St. Michael’s Church, Munich a Jesuit church in Munich, southern Germany, the largest Renaissance church north of the Alps. The style of the building had an enormous influence on Southern German early Baroque architecture Renaissance Architecture in Germany St Michael in Munich is the largest Renaissance church north of the Alps. It was built by Duke William V of Bavaria between 1583 and 1597 as a spiritual center for the Counter Reformation and was inspired by the Church of il Gesù in Rome. Weser Renaissance form of Northern Renaissance architectural style that is found in the area around the River Weser in central Germany and which has been well preserved in the towns and cities of the region Weser Renaissance Juleum in Helmstedt, historical great auditorium of the University, built in 1592 in Weser renaissance architecture Weser Renaissance City Hall of Bremen the seat of the President of the Senate and Mayor of the Free Hanseatic City of Bremen. It is one of the most important examples of Brick Gothic and Weser Renaissance architecture in Europe. Since 1973, it has been a protected historical building. In July 2004, along with the Bremen Roland statue, the building was added to the list of UNESCO World Heritage Sites. 8 Renaissance Architecture in England In Pop Culture Socio-Economic & political background Renaissance architecture arrived in England during the reign of Elizabeth I, having first spread through the Low countries where among other features it acquired versions of the Dutch gable, and Flemish strapwork in geometric designs adorning the walls. The new style tended to manifest itself in large square tall houses such as Longleat House. Elizabethan Architecture refers to buildings of a certain style constructed during the reign of Queen Elizabeth I of England and Ireland from 1558–1603. church building turned to the construction of great houses for courtiers and merchants, these novelties accompanied a nostalgia for native history as well as huge divisions in religious identity, plus the influence of continental mercantile and civic buildings. Insular traditions of construction, detail and materials never entirely disappeared. Elizabethan Architecture In contrast to her father Henry VIII, Elizabeth commissioned no new royal palaces, and very few new churches were built, but there was a great boom in building domestic houses for the well-off, largely due to the redistribution of ecclesiastical lands after the Dissolution. The most characteristic type, for the very well-off, is the showy prodigy house, using styles and decoration derived from Northern Mannerism, but with elements retaining signifies of medieval castles, such as the normally busy roof-line. Prodigy House large and showy English country houses built by courtiers and other wealthy families, either ”noble palaces of an awesome scale”or ”proud, am- bitious heaps”according to taste. The prodigy houses stretch over the periods of Tudor, Elizabethan, and Jacobean architecture, though the term may be re- stricted to a core period of roughly 1570 to 1620. Many of the grandest were built with a view to housing Elizabeth I and her large retinue as they made their annual royal progress around her realm. Many are therefore close to major roads, often in the English Midlands. Prodigy House Wollaton Hall, Nottingham Prodigy House Longleat House, Wiltshire Prodigy House Burghley House, Cambridgeshire Prodigy House Hatfield House Prodigy House The Great Gate at Hampton Court Palace. Architects during the Elizabethan period Robert Adams (1540–1595) William Arnold ( 1595–1637) Simon Basil (f1590–1615) Robert Lyminge (1607–1628) Robert Smythson (1535–1614) John Thorpe or Thorp (c.1565– 1655; fl.1570–1618) Inigo Jones 9  The first great exponent of Italian Renaissance architecture in England was Inigo Jones (1573–1652), who had studied architecture in Italy where the influ- ence of Palladio was very strong. Jones returned to England full of enthusiasm for the new movement and immediately began to design such buildings as the Queen’s House at Greenwich in 1616 and the Banqueting House at Whitehall three years later. These works, with their clean lines, and symmetry were revolutionary in a country still enamored with mullion windows, crenellations and turrets. Queen’s House in Greenwich a former royal residence built between 1616 and 1635 in Greenwich, a few miles down-river from the then City of London and now a London Borough. It was Jones’s first major commission after returning from his 1613– 1615 grand tour of Roman, Renaissance, and Palladian architecture in Italy. Queen’s House in Greenwich The Tulip Stairs and lantern; the first centrally unsupported helical stairs constructed in England. The stairs are supported by a cantilever from the walls with each tread resting on the one below. Banqueting House, Whitehall The Banqueting House, Whitehall, is the grand- est and best known survivor of the architectural genre of banqueting house, which were constructed for elaborate entertaining. It is the only remaining component of the Palace of Whitehall, the residence of English monarchs from 1530 to 1698. Begun in 1619 and designed by Inigo Jones in a style influenced by Andrea Palladio Renaissance architecture in Central and Eastern Europe Renaissance architecture in Central and Eastern Europe When the Renaissance spirit was exported into Eastern Europe, it had to com- promise with local traditions and climates. The Renaissance style differs from place to place throughout the region with many local characteristics making themselves apparent. Poland Polish Renaissance architecture is divided into three periods: The First period (1500–1550), is the so-called ”Italian”. Most of Renaissance buildings built at this time were by Italian architects, mainly from Florence including Francesco Fiorentino and Bartolomeo Berrecci. Second period (1550–1600): Renaissance architecture became more common, with the beginnings of Mannerist and under the influence of the Netherlands, particularly in Pomerania. 10  Buildings include the New Cloth Hall in Kraków and city halls in Tarnów, Sandomierz, Chełm (demolished) and most poorly in Poznań. Zamość is a unique example of a Renaissance town in Central Europe. Third period (1600–1650), the rising power of Jesuits and Counter Reformation gave impetus to the development of Mannerist architecture and Baroque Poland The courtyard of the castle Wawel in Kraków Hungary After Italy, Hungary was the first European country where the Renaissance appeared. Renaissance style came directly from Italy during the Quattrocento to Hungary first in the Central European region, thanks to the development of early Hungarian-Italian relationships—not only in dynastic connections, but also in cultural, humanistic and commercial relations—growing in strength from the 14th century Hungary The most important work of Hungarian Renaissance ecclesiastical architecture is the Bakócz Chapel in Esztergom Russia Prince Ivan III introduced Renaissance architecture to Russia by inviting a number of architects from Italy, who brought new construction techniques and some Renaissance style elements with them, while in general following the tra- ditional designs of the Russian architecture. Cathedral of the Dormition also known as the Assumption Cathedral or Cathedral of the Assumption is a Russian Orthodox church dedicated to the Dormition of the Theotokos. It is located on the north side of Cathedral Square of the Moscow Kremlin in Russia, where a narrow alley separates the north from the Patriarch’s Palace with the Twelve Apostles Church. In its present form it was constructed between 1475– 79 at the behest of the Moscow Grand Duke Ivan III by the Italian architect Aristotele Fioravanti. Terem Palace used to be the main residence of the Russian czars in the 17th century. Its name is derived from the Greek word (i.e., ”dwelling”). Currently, the structure is not accessible to the public, as it belongs to the official residence of the President of Russia. Architect: Aloisio da Milano 11 Scandinavia The Renaissance architecture that found its way to Scandinavia was influenced by the Flemish architecture, and included high gables and a castle air as demonstrated in the architecture of Frederiksborg Palace. Frederiksborg Palace Renaissance architecture in Spain Spain vs Portugal in Pop Culture Early Spanish Renaissance Architecture: Plateresque In Spain, the Renaissance began to be grafted to Gothic forms. the style started to spread mainly by local architects: that has cause the creation of a specific style influenced by Italian renaissance from illuminated books and paintings mixed with Gothic tradition and local idiosyncrasy. Plateresque: Spanish Renaissance Architecture because of the extremely dec- orated facades, that brought to the mind the decorative motifs of the intricately detailed work of silversmiths, the ”Plateros”. Classical orders and candelabra motifs (a candelieri) combined freely into symmetrical wholes. Examples in- clude the facades of the University of Salamanca and of the Convent of San Marcos in León. Early Spanish Renaissance Architecture: Plateresque Facade of the University of Salamanca Early Spanish Renaissance Architecture: Plateresque Façade of the Convent of San Marcos in León. High Spanish Renaissance Architecture: Purism As decades passed, the Gothic influence disappeared and the research of an orthodox classicism reached high levels. Although Plateresco is a commonly used term to define most of the architectural production of the late 15th and first half of 16th century, some architects acquired a more sober personal style. Architects: Diego Siloe, and Andrés de Vandelvira in Andalusia Alonso de Covarrubias and Rodrigo Gil de Hontañón in Castile. High Spanish Renaissance Architecture: Purism Gilded Staircase by Diego Siloe 12 Malaga Cathedral Andalusia, Spain It was constructed between 1528 and 1782, following the plans drawn by Diego de Siloe; its interior is also in Renaissance style. Guadalajara Cathedral Catedral de la Asunción de María Santísima, located in Guadalajara, Jalisco, is the Roman Catholic cathedral of the Archdiocese of Guadalajara and a minor basilica. It is built in the Spanish Renaissance style, except its Neo-gothic spires. Late Spanish Renaissance Architecture: “Almost Mannerism” From the mid 16th century, under such architects as Pedro Machuca, Juan Bautista de Toledo, and Juan de Herrera, there was a much closer adherence to the art of ancient Rome, sometimes anticipating Mannerism. Late Spanish Renaissance Architecture: “Almost Mannerism” An example of this is the Palace of Charles V in Granada built by Pedro Machuca. Late Spanish Renaissance Architecture: “Almost Mannerism” A new style emerged with the work of Juan Bautista de Toledo, and Juan de Herrera in the Escorial: the Herrerian style extremely sober and naked, reached high levels of perfection in the use of granite ashlar work, and influenced the Spanish architecture of both the peninsula and the colonies for over a century El Escorial a historical residence of the King of Spain located northwest of the Spanish capital Madrid. Built between 1563 and 1584 by order of King Philip II (who reigned 1556–1598), El Escorial is the largest Renaissance building in the world. It is one of the Spanish royal sites and functions as a monastery, basilica, royal palace, pantheon, library, museum, university, school, and hospital. Renaissance architecture in Portugal Renaissance Architecture in Portugal As in Spain, the adoption of the Renaissance style in Portugal was gradual. The so-called Manueline style (c. 1490–1535) married Renaissance elements to 13 Gothic structures with the superficial application of exuberant ornament similar to the Isabelline Gothic of Spain. Examples of Manueline include the Belém Tower, a defensive building of Gothic form decorated with Renaissance-style loggias, and the Jerónimos Monastery, with Renaissance ornaments decorating portals, columns and cloisters. Early Portuguese Renaissance Architecture: Manueline The Manueline style (circa 1490–1535) was a transitional style that combined Renaissance and Gothic ornamental elements to buildings that were architec- turally closer to Gothic architecture, as is the Isabelline style / Plateresque of Spain. Manueline was succeeded by a brief Early Renaissance phase (c. 1530– 1550), closer to Classical canons, followed by the adoption of Mannerist (late Renaissance) forms. Early Portuguese Renaissance Architecture: Manueline The Tower of Belém in Lisbon is one of the most representative examples of Manueline style. Early Portuguese Renaissance Architecture: Manueline Jerónimos Monastery one of the most prominent examples of the Portuguese Late Gothic Manueline style of architecture in Lisbon. It was classified a UNESCO World Heritage Site, along with the nearby Manueline ornamentation in the cloisters of Jerónimos Monastery, Belém (Lisbon) Tower of Belém, in 1983. Casa dos Bicos The Casa dos Bicos (Portuguese for House of the Beaks/Spikes) is a historical house in the civil parish of Santa Maria Maior, in the Portuguese municipality of Lisbon. The house, built in the early 16th century in the Alfama neigh- bourhood, has a curious façade of spikes, influenced by Italian Renaissance palaces and Portuguese Manueline styles. It survived the disastrous 1755 Lis- bon earthquake that destroyed much of the city, but over time was abandoned as a residence and used as a warehouse. After a 20th-century renovation, it became the headquarters of the José Saramago Foundation and a location of the Museum of Lisbon. Characteristics of Manueline Architecture elements used on ships: the armil- lary sphere (a navigational instrument and the personal emblem of Manuel I and also symbol of the cosmos), spheres, anchors, anchor chains, ropes and cables. elements from the sea, such as shells, pearls and strings of seaweed. botanical motifs such as laurel branches, oak leaves, acorns, poppy capsules, corncobs, thistles. symbols of Christianity such as the cross of the Order of Christ (former Knights Templar), the military order that played a prominent 14 role and helped finance the first voyages of discovery. The cross of this order decorated the sails of the Portuguese ships. Characteristics of Manueline Architecture elements from newly discovered lands (such as the tracery in the Royal Cloister of the Batalha Monastery, sug- gesting Islamic filigree work, influenced by buildings in India) columns carved like twisted strands of rope semicircular arches (instead of Gothic pointed arches) of doors and windows, sometimes consisting of three or more convex curves multiple pillars eight-sided capitals lack of symmetry conical pin- nacles bevelled crenellations ornate portals with niches or canopies. High Portuguese Renaissance Architecture The first ”pure” Renaissance structures appear under King John III, like the Chapel of Nossa Senhora da Conceição in Tomar (1532–40), the Porta Especiosa of Coimbra Cathedral and the Graça Church at Évora (c. 1530–1540), as well as the cloisters of the Cathedral of Viseu (c. 1528– 1534) and Convent of Christ in Tomar (John III Cloisters, 1557–1591). The Lisbon buildings of São Roque Church (1565–87) and the Mannerist Monastery of São Vicente de Fora (1582– 1629), strongly influenced religious architecture in both Portugal and its colonies in the next centuries. Late Portuguese Renaissance Architecture: Mannerism Portuguese Mannerism, specially in secular architecture, is characterized by simplicity in the organization of façades and relative lack of decoration, being often referred to as Estilo Chão (plain style). Even with the arrival of Baroque architecture in the late 17th century, Portuguese architecture continued to use Mannerist forms well into the 18th century. 15