'Abstract: Venice Architecture School'

'\n\nSansovino (Sansovino; Ýðî own, Tatti) Jacopo (07.02.1486, Florence - 11.27.1570, Venice), Italian sculptor and couturier of the High and recently reincarnation.\nHe analyse in Florence A. Sansovino. He worked in capital of Italy (1503-1510, 1518-27), Florence (1510-18), from 1527 - in Venice and Padua (1529 headman designer of the Venetian Re man). Architectural echoed by Sansovino in Venice [Church of San Francesco della Vina (since 1534, the frontage was built by A. Palladio, 1572), Library of St Marks, come across (called Dzekka, begun 1536), the Palazzo Corner (from 1532)] ar different profusion profiles, rich sculptural and sometimes beauteous decoration, subtly rank tectonics home.\nIn the sculptural whole kit of Sansovino painterly chiaroscuro moulding organically affiliated with the subtle tone of imagery (Bacchus, marble, 1518, discipline Museum, Florence, and 4 statues on the facade Lodzhetty in Venice, bronze, 1540-45; statue physician T. Rangoni on the facade of the perform of San Giuliano in Venice, bronze, 1554).\nPalladio - rebirth theorist and practitioner\nPalladio, Andrea (Palladio, Andrea) (1508-1580), published by the Italian graphic designer of the late Renaissance. The good example of his simple and processed buildings, he demonstrate how the achievement of antiquity and the High Renaissance (mostly in the papist version) can be creatively recycled and used, that clear language of computer room decoratorure made public and universal. His experience was specially valuable for interior designers 17-18 centuries. pursual of the wizard created a trend in European computer architecture, dubbed palladyanstva.\nPalladio was innate(p) November 30, 1508 in Padua, and in brief the family moved to Vicenza, where the show and proceeded his creative activity. improver Dzhandzhordzho Tryssyno (1478-1550) became his assistant and persuaded to tilt the name of the architect Andrea di Pietro (Andrea di Pietro) on privacy name Palladio (from hrechok. Palladion: the so-called statue of the goddess Pallas Athene, who, fit to the beliefs of Athenians, protected city ​​from the enemy). Thats the advice Tryssyno future architect went to study in Rome, and on his bribe became famous improver its starting signal customer. In 1545 Palladio won the contestation for the right alteration Cornflowers in Vicenza. The 2 most cardinal areas of his work was the social organization of township kinsfolks (called palazzo, or palace) and country residences (villas).\nBy the early stay of Palladios villas include projects in Lonedo Years (1540) and Pyzany in Bagnolet (1544). In both(prenominal) cases, he created fantastic examples of communication architecture and the natural landscape. qualification to emphasize the conformity of the building, skilfully placing it against the ground of the picturesque Venetian landscapes, it was useful in the future in the construction o f villas Malkontenta (1558), Barbaro in Maser-Volpi (1560-1570), Cornaro (1566) and finally villas Rotonda ( or Capra) in Vicenza (1551-1567). The latter(prenominal) is widely considered the architect of the building made. Its square, house with Ionic six-column portico on each facade. all four porticos die hard to circular rudimentary hall, covered with a low domed stadium under a tiled roof.\nIn the design of facades of houses and town homes Palladio usually assiduous large order, as can be seen in the Palazzo Kerykaty in Vicenza (1550). Huge columns upgrade to a stylobate (stone slabs footings) - of course, as in the Palazzo Valmarana (begun in 1566) and the unfinished Sunrooms del Kapytanyo (1571), is real high, it is absorbing the first floor, as in the Palazzo Thien (1556 ).'