Character of Renaissance ArchitectureMoore, Charles Herbert
History
Character of Renaissance Architecture
Moore, Charles Herbert
Architecture, Renaissance
is slightly pointed, but the sides are nevertheless so much curved in
elevation that a structure of this form would not stand without strong
cinctures. It is, however, not unlikely that the fresco painter has
given it a more bulging shape than Arnolfo intended. But domes of this
character were exceptional in the Middle Ages. The builders of that
epoch confined their practice for the most part to the safer form in
which the vault is made to spring from within the drum, and is thus
necessarily, either in part or entirely, hidden from external view.
[Illustration: FIG. 3.--Dome of Pisa.]
[Illustration: FIG. 4.--Dome of Arnolfo.]
[Illustration: FIG. 5.--Section of Baptistery.]
A remarkable dome of this latter class is that of the Baptistery of
Florence, which, though the building has undergone various superficial
transformations since its original construction at an early, though
uncertain, epoch, has come down to us in essential integrity. This
building on plan is in the form of an octagon, and the dome is of
corresponding shape, and sprung from a level far below the top of the
enclosing walls. In elevation the dome (Fig. 5) has a pointed outline,
and is covered by a pyramidal roof of stone the upper part of which
is incorporated with the dome itself, while beneath the lower portion
is a void between the dome and the enclosing wall. The structure has
an internal anatomy that is both ingenious and admirable. The span is
about 25 metres, and the wall at the level of the springing is over 3
metres thick. Above this the wall (_a_, Fig. 5) rises to a height
of about 8 metres. The dome at its base is about 1 metre thick, and
its extrados rises vertically to a height of about 2½ metres, leaving
an open space between it and the wall of the enclosing drum of 1.26
metres in width. Above this vertical portion the extrados is stepped
by several courses of masonry, somewhat after the manner of the dome
of the Pantheon. From the reëntrant angles of the octagon (_a_,
Fig. 6) solid abutments are built up against the salient angles of
the vault, and, between these, two secondary abutments (_b_) are
carried up against each of its sides. These buttresses are in the
form of cross walls dividing the space on each side of the octagon
into three compartments, and over each of these compartments a barrel
vault, on an axis inclined in conformity with the slope of the roof,
is turned. The upper ends of these vaults intersect on the surface of
the dome, as shown in Figures 5 and 6. The voids between the crowns
of these vaults and the buttresses are filled in with masonry so as
to form the sloping planes of the roof below where it is incorporated
with the dome, and on these are laid the slabs that form the external
covering. With such an effective buttress system as is here provided
it is hard to find a reason for the chain of timbers which is inserted
at the haunch of the dome. The constructive principle embodied in this
Public-domain text, read in full here on John Shaqi.
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