Editing Renaissance architecture (section)

=== Principal phases ===
[[File:PalladioBramanteTempietto1570.jpg|thumb|upright|Palladio's engraving of Bramante's Tempietto]]
[[File:Tempietto - Houtsnede door Palladio 2.jpeg|thumb|upright|Plan of Bramante's Tempietto in Montorio]]

Historians often divide the Renaissance in Italy into three phases.{{NoteTag|Some architectural histories e.g. Sir [[Banister Fletcher]], include Baroque as a phase of Renaissance architecture. Because of its extent, diversity and deviation from the Classical it is not included here and is the subject of a main article.}} Whereas art historians might talk of an ''Early Renaissance'' period, in which they include developments in 14th-century painting and sculpture, this is usually not the case in architectural history. The bleak economic conditions of the late 14th century did not produce buildings that are considered to be part of the Renaissance. As a result, the word ''Renaissance'' among architectural historians usually applies to the period 1400 to {{circa|1525}}, or later in the case of non-Italian Renaissances.

Historians often use the following designations:
* [[Quattrocento]] ({{circa|1400–1500}})
During the ''Quattrocento,''{{NoteTag|The Italian translates literally to "fourteen-hundred" and coincides with the English "fifteenth century".}} sometimes known as the Early Renaissance,{{NoteTag|The ''Early Renaissance'' in architecture is most applicable to developments in Venice, where there was a more fluid development between medieval and Renaissance styles than in Florence.<ref>John McAndrew ''Venetian Architecture of the Early Renaissance'' (Cambridge, MA: The MIT Press, 1980).</ref>}} concepts of architectural order were explored and rules were formulated. The study of classical antiquity led in particular to the adoption of Classical detail and ornamentation. Space, as an element of architecture, was used differently than it was in the [[Middle Ages]]. Space was organised by proportional logic, its form and rhythm subject to geometry, rather than being created by intuition as in Medieval buildings. The prime example of this is the [[Basilica of San Lorenzo, Florence]] by [[Filippo Brunelleschi]] (1377–1446).<ref>Howard Saalman. ''Filippo Brunelleschi: The Buildings''. (London: Zwemmer, 1993).</ref>

* [[High Renaissance]] ({{circa|1500–1525}})
During the High Renaissance, concepts derived from classical antiquity were developed and used with greater confidence. The most representative architect is [[Donato Bramante]] (1444–1514), who expanded the applicability of classical architecture to contemporary buildings. His Tempietto di [[San Pietro in Montorio]] (1503) was directly inspired by circular [[Roman temple]]s. He was, however, hardly a slave to the classical forms and it was his style that was to dominate Italian architecture in the 16th century.<ref>Arnaldo Bruschi. ''Bramante'' (London: Thames and Hudson, 1977).</ref>

* [[Mannerism]] ({{circa|1520–1600}})
[[File:CampidoglioEng.jpg|thumb|The Piazza del Campidoglio]]
During the [[Mannerist]] period, architects experimented with using [[architectural form]]s to emphasize solid and spatial relationships. The Renaissance ideal of harmony gave way to freer and more imaginative rhythms. The best known architect associated with the Mannerist style was [[Michelangelo]] (1475–1564), who frequently used the [[giant order]] in his architecture, a large pilaster that stretches from the bottom to the top of a façade.<ref>{{verify source |date=July 2014}}{{Citation | title = Pilaster Play | author= [[Mark Jarzombek]] |journal = Thresholds | url= http://web.mit.edu/mmj4/www/downloads/thresholds28.pdf | volume= 28 (Winter 2005) | pages= 34–41 |access-date= 27 December 2010 | archive-url= https://web.archive.org/web/20121026091320/http://web.mit.edu/mmj4/www/downloads/thresholds28.pdf | archive-date= 26 October 2012| url-status= live }}</ref> He used this in his design for the [[Piazza del Campidoglio]] in Rome. Prior to the 20th century, the term ''Mannerism'' had negative connotations, but it is now used to describe the historical period in more general non-judgemental terms.<ref>Arnold Hauser. ''Mannerism: The Crisis of the Renaissance and the Origins of Modern Art''. (Cambridge: Harvard University Press,1965).</ref>

* From Renaissance to Baroque
As the new style of architecture spread out from Italy, most other European countries developed a sort of Proto-Renaissance style, before the construction of fully formulated Renaissance buildings. Each country in turn then grafted its own architectural traditions to the new style, so that Renaissance buildings across Europe are diversified by region. Within Italy the evolution of Renaissance architecture into Mannerism, with widely diverging tendencies in the work of [[Michelangelo]], [[Giulio Romano (painter)|Giulio Romano]] and [[Andrea Palladio]], led to the Baroque style in which the same architectural vocabulary was used for very different rhetoric. Outside Italy, Baroque architecture was more widespread and fully developed than the Renaissance style, with significant buildings as far afield as Mexico{{NoteTag|[[Cathedral of Chihuahua]], 1725–1826}} and the [[Philippines]].{{NoteTag|[[Basilica Minore del Santo Niño]], present structure 1735–39}}