Renaissance Architecture – Ultimate Guide with Features and 11 Examples

Renaissance architecture demonstrates a revival and development of certain elements of ancient Greek and Roman thought, material, and culture. It is followed by Gothic Architecture and succeeded by Baroque architecture.

What is Renaissance Architecture

Renaissance architecture refers to the architectural style that emerged in Europe during the Renaissance period, which spanned roughly from the 14th to the 17th century. This period marked a cultural and artistic rebirth, with a renewed interest in the classical ideas and forms of ancient Greece and Rome. Renaissance architecture was characterized by a departure from the Gothic style that preceded it and a return to classical principles of design.

Filippo Brunelleschi is considered the founding father of Renaissance architecture, developed first in France and the style quickly spread to other parts of Europe. Renaissance architecture is based on the principles of symmetry, Geometry, and Proportion. The new architecture perceived a balance between horizontal and vertical elements in forms reflecting human proportions. The architectural style and its significance were to provide basic human needs and not religious principles, unlike Roman and Gothic styles.

Renaissance artists firmly adhered to the Pythagorean concept “All is Number.” . . .Architecture was regarded by them as a mathematical science which worked with spatial units: parts of that universal space for the scientific interpretation of which they had discovered the key in the laws of perspective. Thus they were made to believe that they could re-create the universally valid ratios and expose them pure and
absolute, as close to abstract geometry as possible. And they were convinced that universal harmony could not reveal itself entirely unless it were realized in space through architecture conceived in the service of religion

—Rudolf Wittkower, Architectural Principles
in the Age of Humanism, 1949

Evolution from Gothic to Renaissance Architecture

Gothic architecture was a unique style tailored to each building without following universal rules. In the 15th century, Italians considered it uncivilized, linking it to a dark period between ancient Greece and their own enlightened era. They aimed to rival the achievements of the ancient cultures, driven by their thriving urban society.

The Italians, especially those from Florence, began to see history in a new way. They believed that human history was not just a continuous plan made by a god, but a series of different periods with great human achievements. They felt that they were at the beginning of a new era with many possibilities, one that could be as great as ancient times. They felt more confident in their ability to think and wanted a new kind of architecture.

This architecture would show the clear and logical-mathematical order they saw in the universe. This new architecture (Renaissance architecture) didn’t have to point upwards like before, but, like Roman architecture, it would show a balance of up and down and side-to-side elements in shapes that matched human proportions.

This new Renaissance architecture, which was clear to see and logically organized, first showed up in Filippo Brunelleschi’s Ospedale degli Innocenti (Foundling Hospital) in Florence. This building was light and elegant, based on Roman ideas, and its parts were put together using a recognizable proportional system. This was an architecture that came from human thinking, not just to show religious ideas, but to meet the very human needs of orphaned children.

Span of Renaissance Architecture

Renaissance Architecture (1400-1600) spans between the 14th and 16th centuries to early 17th century.

3 Major Phases of Renaissance Architecture

Renaissance architecture is in three phases:

• Early Renaissance – 14th century
  • The early Renaissance laid the groundwork for the later developments in Renaissance architecture. This phase emerged in Italy in the 14th century and marked a transition from the Gothic style to a renewed interest in classical forms. Architects during this time began experimenting with classical elements, such as columns, arches, and classical motifs, while still retaining some Gothic features. Buildings exhibited a mix of Gothic and emerging Renaissance elements along with incorporating classical details.
• High Renaissance – Late 15th to Early 16th Century
  • The period of the High Renaissance, which is considered the zenith of Renaissance architecture, saw a more mature and confident embrace of classical principles, with architects seeking to achieve perfect harmony, proportion, and balance in their designs. High Renaissance architecture reached its pinnacle in Italy, particularly in Florence and Rome. With an emphasis on centralized plans, buildings exhibited symmetry and proportion, whereas the orders became fundamental elements.
• Mannerism – Late 16th Century to Early 17th Century
  • The Mannerist phase emerged as a response to the strict classical ideals of the High Renaissance. It is characterized by a departure from classical norms and a preference for asymmetry and complexity, representing a more experimental and eccentric approach to architecture. This phase is often seen as a bridge between the Renaissance and the Baroque.

Characteristics of Renaissance Architecture

Symmetry and Proportion: Designers of Renaissance architecture showed an appreciation towards mathematical principles and a desire to achieve harmony. Buildings were designed to be balanced both on the horizontal and vertical axes. This creates a visual balance between the senses.

• A classical architectural style.
• Reserved and Simplified
• Balanced, composed, and Graceful Sculptures.
• Rhythm, Symmetry, and Proportion
• Harmony and Consistency

Notable Renaissance Architects

Filippo Brunelleschi is considered the founding father of Renaissance architecture.

• Filippo Brunelleschi (1377-1446)
• Leon Battista Alberti (1404-1472)
• Andrea Palladio (1508-1580)

The Ideal City of Renaissance – Palmanova

Built up by the Venetian Republic in 1593, Palmanova is an example of an ideal city in a star shape, located in Friuli-Venezia Giulia, Itlay. It was developed on a model created by Antonio Averlino in 1460. It was constructed in 1593 to protect the plain of Friuli from the attack of Turks.

The plan consists of a nine-pointed star shape, with artillery bastions surrounding it. Following the principles, the city’s nine primary radial streets and connecting connectors follow the perfect design, allowing for equal distribution of supplies and munitions.

Architectural Features

The forms and purposes of the structures during the Renaissance period had changed, adopting a few features of Roman and Gothic Architecture.

• Plan: The plan was typically a square with proportions and a symmetrical appearance based on a module.
• Facades: The Facades of Renaissance architecture are symmetrical about their vertical axis. Facades, especially of churches were surmounted by pediments and organized by pilasters, arches, and entablatures. The columns and openings seem to progress toward the center. The need to integrate the plan with the façade is introduced by architect Filippo Brunelleschi. Domestic buildings are surmounted by cornices with a repetition of openings on each floor, whereas central doors are marked by special architectural features.
• Classical orders and Columns: During the Renaissance – Doric, Ionic, Corinthian, Composite, and Tuscan orders of Roman and Greek are used. However, the architects aimed to use columns and pilasters as an integrated system. These columns not only provided structural support but also added a sense of elegance and sophistication to the buildings.
• Triumphal Arches: Arches are in the form of semi-circle or segmental. The arches served both symbolic and practical purposes, creating a sense of grandeur while also providing a ceremonial passage.
• Vaults: Vaults were simple like barrel vaults with semicircles on the square plan.
• Domes and Cupolas: Dome functions as a large structural feature externally and for small roofing spaces internally. In addition, to serving as structural members, domes were as visual crowns that symbolized the aspirations of Renaissance architects to reach new heights of artistic intelligence.
• Roofs: Roofs are either flat or coffered and they are painted or decorated.
• Openings: Openings were usually with a square lintel or surmounted by pediments.
• Walls: The external walls were constructed of brick and faced with ashlar masonry, with corners emphasized with rusticated quoins. The internal walls are plastered with lime wash.
• Rustication: Rough textured stone was used at the lower levels of buildings not only to add visual interest but also to serve as a nod to the rustic stonework of ancient Roman structures.
• Courtyards: Courtyards were surrounded by arcades, often adorned with classical statuary and fountains, which not only served as focal points but also provided a sense of unity. In addition, they became a central gathering place with an interplay of light and shadow.

Major Patrons of Italy – Merchants, Cardinals, Popes, and Bankers, commissioned buildings, sculptures, and paintings for themselves. Renaissance architects clearly expressed numerical relationships in their designs recalling Pythagoras’ principles. The circle was an attractive form for Renaissance designers since it symbolizes the perfection of God.

Examples of Renaissance Architecture

Florence Cathedral Dome (1420-1436)

• Building: Brunelleschi’s Dome, Florence Cathedral
• Function/Use: Cathedral
• Location: Florence, Tuscany, Italy
• Date of construction: 1420-1436
• Architect: Filippo Brunelleschi, Arnolfo di Cambio,
• Key Features: Shell Dome
• Materials Used: Marble, Brick

Structure and Facade

The dome of the cathedral in Florence, Santa Maria Della Fiore boldly exemplifies the building achievements of the ancients in the works of Filippo Brunelleschi. The largest dome rises over the city with its magnificent glory. To build this Dome, he studied various domes of Rome, particularly the dome of Pantheon. Humanist scholar and theorist “Leon Battista Alberti” praises Brunelleschi’s achievement as “unknown and unthought of among the ancients”.

The dome is made up of two shells/domes, one inside the other. The inner dome is thicker and the outer one is thinner. The structure of the dome is created using stone arches. There are thick arches at the eight corners and smaller ones between each of the main arches. These arches connect the inner and outer dome. To avoid using a lot of wood for support, the dome was built simultaneously on all sides. This created one ring on top of another, with each ring acting as a keystone.

The eight curved sides of the dome were built using purpose-made large bricks. Several bricks were laid horizontally and then one was placed vertically, creating a spiraling herringbone pattern. This pattern helped to keep each layer of bricks in place while the mortar set and became strong.

Later a lantern was designed and placed at the top of the dome.

Brunelleschi Foundling Hospital (1419-1445)

• Building: Brunelleschi Foundling Hospital
• Function/Use: Previously as a hospital, At present – the base of operations for the UNICEF Innocenti Research Centre
• Location: Florence, Italy
• Date of construction: 1419-1445 (In phases)
• Architect: Filippo Brunelleschi
• Key Features: simple proportions, regularity, and geometric order
• Materials Used: Greystone

Structure and Facade

The first building to demonstrate mathematical proportions was Brunelleschi’s Foundling Hospital in Florence. The ideal of pure circles, squares, and cubes is clearly seen in the arcade across the front of the building.

The arcade features monolithic Corinthian columns that carry semi-circular architraves and a stretched entablature that draws one’s attention from left to right and vice-versa. Accordingly, as one stands in front of the piazza, one can see that the columns are proportionately placed equally, defining squares in elevation. And if one stands in the rear, they appear as precise cubes along with the internal space and columns. In addition, if we see the proportion of semicircles, the semicircular arches on the columns are 1.5 times taller than the columns. This creates bays of a three-dimensional ratio of 2:2:3 based on the arch radius length.

St.Peter’s Basilica (1506-1626)

The St. Peter’s Basilica, located in the Vatican City, is a magnificent church with a central dome that dominates the Rome skyline. It was constructed between 1506 and 1626 and can be accessed through St. Peter’s Plaza, a forecourt surrounded by tall colonnades. The west walls and dome were constructed during the Renaissance period, while the construction of the facade took place during the Baroque period. Therefore, this covers both the Renaissance and Baroque architectural styles.

Church of Santo Spirito (1444-1487)

• Building:  Church of Santo Spirito
• Function/Use: Church
• Location: Florence, Tuscany, Italy
• Date of construction: 1444-1487
• Architect: Filippo Brunelleschi, Antonio Manetti, Giovanni da Gaiole, Salvi d’Andrea
• Key Features: Mathematical schemes in detail
• Materials Used: Stone

Structure and Facade

Filippo Brunelleschi successfully developed, formulated, and created a mathematical scheme in all the details and sub-divisions in the church of Santa Spirito in Florence, Italy. It is one of the most attractive and impressive churches of Renaissance architecture designed by him.

The plan of the church is in the form of a cross with a central cubical bay surmounted by a dome on pendentives. From here, the duplicate cubes extend to form the choir and transept arms. The length of the transept is one-half the length of the nave. It comprises identical squares in the choir, transept, and nave. The collateral naves are lined with thirty-eight small chapels and are decorated with works of art.

The vertical section is also in perfect proportion; where the height of the central nave is twice exactly its width.

Piazza San Marco (1537)

• Building:  Piazza San Marco
• Function/Use: Public Square
• Location: Florence, Tuscany, Italy
• Date of construction: construction started in 1537
• Architect: Giovanni Antonio Antolini, Andrea Tirali
• Key Features: Rhythmic façade of arches and colonnade
• Materials used: Stone, Granite

Structure and Facade

Piazza San Marco is famous for its larger scale and is most impressive among other Piazzas of Italy and one of the fine examples of Renaissance Architecture. The Piazzetta lies between the Doge’s Palace on the east and Biblioteca Marciana (Library) on the west.

The arcade houses shops, cafes, and also an entrance to the Archeological Museum, Biblioteca Marciana, and National Library which occupy the upper floors. The Rhythmic sense, and excellence in proportions in the design of the façade with columns, arches, openings, as well as balconies mark it as a unified building.

Basilica Palladiana (1549-1614)

• Building: Basilica Palladiana
• Function/Use: Previously served as the seat of government, At present as an exhibition hall for civic events
• Location: Vicenza, Veneto, Italy
• Date of construction: 1549-1614(phases)
• Architect: Andrea Palladio
• Key Features: Loggia
• Materials used: Marble
• Universal Value: UNESCO World Heritage Site

Structure and Facade

The elements of the structure are repetitive with round arches flanking rectangular openings or bays.

The loggia in the exterior façade is a fine example of symmetry, proportion, and geometry which are the key features of Renaissance Architecture. The loggias on the lower floor were in the Doric order whereas Ionic order was in the upper floors. An entablature connects with a frieze that alternates metope and Triglyph. On the other hand, beautiful statues adore the parapet.

Château de Chambord (1519–47)

• Building: Château de Chambord
• Function/Use: Previously as a luxury residence and hunting lodge, At present – exhibition halls
• Location: Chambord, Loir-et-Cher, France
• Date of construction: 1519-1547
• Architect: Domenico da Cortona
• Key Features: Rounded towers
• Materials used: Stone, Masonry
• Universal Value: UNESCO World Heritage Site

Structure and Facade

Château de Chambord is one of the greatest examples of French Renaissance and Classical Renaissance architecture that presents its rich architectural splendor. Extensive landscapes and water features such as moats surround the edifice. It resembles a typical castle with fortified towers and corner towers defended by moats. The internal layout is an early example of Renaissance architecture with that of the French and Italian styles of grouping rooms into self-contained suites. The château features 440 rooms, 282 fireplaces, and 84 staircases. Four rectangular vaulted hallways on each floor form a cross-shape.

The château also features 128 meters of façade, more than 800 sculpted columns, and an elaborately decorated roof. The keep’s façade is asymmetrical, with the exception of the northwest façade, latterly revised, when the two wings were added to the château.

Basilica of Santa Maria Novella (1279- 14th century) 

• Building: Basilica of Santa Maria Novella 
• Function/Use: Church
• Location: Florence, Tuscany, Italy
• Date of construction: 1279- 14th century
• Architect: Leon Battista Alberti
• Key Features: definite proportions, symmetry, geometry
• Materials used: Green and white marble

Structure and Facade

The church, the adjoining cloister, and the chapter house contain a multiplicity of art treasures and funerary monuments. Its façade is a great example of Renaissance architecture with definite proportions, symmetry, geometry, and the use of the golden ratio. The long curved volutes create a graceful transition from the top of the square block to the two squares in the lower part of the side aisles.

Teatro Olimpico (1580-1585)

• Building: Teatro Olimpico 
• Function/Use: Olympic Theatre
• Location: Vicenza, Northern Italy
• Date of construction: 1580-1585
• Architect: Andrea Palladio, Vincenzo Scamozzi
• Key Features:  trompe-l’oeil onstage scenery
• Materials used: Wood, Stucco
• Universal Value: UNESCO World Heritage Site

Structure and Facade

Scamozzi’s stage set was the first practical introduction of perspective views into Renaissance theatre. One of the most famous and striking features in the edifice is the design of trompe-l’oeil onstage scenery that gives the appearance of long streets receding to a distant horizon. Even the lighting plays an important role in the design – this gives an illusion of real streets.

 Tempietto of San Pietro (1500-1502)

• Building: Tempietto of San Pietro
• Function/Use: Church
• Location: Piazza di S. Pietro in Montorio, Rome, Italy
• Date of construction: 1500-1502
• Architect: Donato Bramante
• Key Features: Symmetry and Harmony in design, Dome
• Materials used: Masonry

Structure and Facade

Even though Tempietto is a small church with a narrow courtyard, it is a great masterpiece of High Renaissance Italian Architecture. Bramante carefully designed the Tempietto so that its overall height to the base of the dome is equal to its width. Also, the same ratio is repeated concerning the width of the surrounding Doric colonnade and the height of the drum of the dome.

The Doric columns were reused Roman artifacts, while the frieze was designed by Bramante inspired by the Temple of Vespasian. Instruments used in pagan rituals were changed into instruments for the Mass and papal symbols in the Roman model. Thus, the small structure reflects the essence of Roman architecture, reimagined for the church.

Villa Farnese (1515-1530)

• Building: Villa Farnese
• Function/Use: Mansion
• Location: Province of Viterbo, Lazio, Italy, Rome
• Date of construction: 1515-1530
• Architect: Vignola
• Key Features: use of ornamentation for proportion and harmony
• Materials used: Reddish gold stone

Structure and Facade

Villa Farnese is a pentagonal mansion, a five-sided plan built using reddish gold stone and buttresses supporting upper floors. As an expression of Farnese power, it was the centerpiece of vast Farnese holdings and an example of massive Renaissance architecture.

The plan features a pentagonal shape around a circular colonnaded courtyard. Paired Ionic columns flank niches in the galleried court, while the niches contain busts of Roman Emperors.

The entrance to the Villa is designed such that the stairs ascend to a series of terraces that begin from the basement leading to the terrace above. The basement floor features a massive central column with a series of buttresses and retaining walls. The bastion-like floor, which appears in the elevation as a second ground floor, is rusticated, the main door a severe arch flanked by three windows on each side. The façade at this level is terminated by massive solid corner projections.

Conclusion

Renaissance architecture represents a pivotal chapter in the history of architectural evolution, characterized by a profound reconnection with classical ideals and a relentless pursuit of innovation. The architects of the Renaissance, through their meticulous study of antiquity, crafted a visual language that transcended time and influenced generations of builders. The enduring legacy of Renaissance architecture lies not only in the physical structures that grace our cities but also in the timeless principles of harmony, proportion, and beauty that continue to shape our understanding of the built environment.