TEMPIETTO of San PIETRO PIETRO of MONTORI: - The Tempietto by Donato Bramante in the cloister of San Pietro in Montorio, literally means St! Peter at the "ol#en $ill - Re%ar#e# as one of the &nest e'ample of $i%h Renaissance! Renaissance! B(ilt: B(i lt: )*+ )*+ D .)*t .)*th h cent(r cent(ry/ y/ B(il#ers:
Spaniar#s
rchitect:
Donato Bramante
0a(se 1 Date of of Destr(ction: Destr(ction: still in e'istence e'istence Mo#ern 2ocation:
Montorio, Rome, Italy
0onstr(ction System: Post an# 2intel 0onstr(ction, Dome 0ol(mniation 0apital: Materials:
Doric 0ol(mns
Masonry .0oncrete .0oncrete an# Marble/
Tempietto Tempietto is a small small circ(lar circ(lar chapel erecte# erecte# in the co(rtyar# co(rtyar# of San San Pietro Pietro in Montorio in Rome! The 3or4 3as f(n#e# by the 0atholic Monarchs, 5(een Isabel of 0astile an# 6in% 7er#inan# of ra%on, as a mon(ment commemoratin% the martyr#om of Saint Peter an# 3as b(ilt in )*+ after #esi%ns ma#e by Donato Bramante! late )89+s ; The commission for the Tempietto 3as ma#e by 0ar#inal 0ar
s empietto> s completion is also (ncertain! The fact that it 3as not incl(#e# in a %(i#eboo4 to Rome that 3as p(blishe# in )*)) s(%%ests that it 3as &nishe# after that #ate!
##itional infos: Tiempetto ; Italian term term for small temple temple
the church of San Pietro in Montorio sits overlooking the eastern slope of Gianicolo hill. Built in the 15th century, the gorgeous church holds copious amounts of renaissance art including frescoes from Italian masters
0(rrently, 0(rrently, the temple occ(pies a ?(a#rilateral ?(a#rilateral co(rtyar# co(rtyar# an# is only
INSPIRATION: Ta4in% inspiration from ancient b(il#in%s s(ch as the Temple of Vesta an# the Roman Pantheon, the b(il#in% is a sin%le chamber temple 3ith a hemispherical, concrete #ome at the top an# a perfectly-space# perfectly-space# series of niches an# pilasters on the main bo#y!
FUNCTION: "i
##itional infos: The ori%inal ori%inal #raft incl(#e# incl(#e# a circ(lar circ(lar patio that 3as not #one! #one!
the tempietto! sits in the middle of the larger church"s rectangular pla#a, a hidden $ut influential piece of architectural history designed $y one of the most visionary architects of the Italian renaissance.
7or f(nction: In being centrally planned and not having projecting features that designate a front facing, the Tempietto is one of the most perfect embodiments of centralized design built in the Renaissance.
PARTS OF TEMPIETTO: TEMPIET TO: The Monastery of San Pietro Pietro in Montorio, a Spanish monastery of the 7ranciscan Or#er, 3as later b(ilt aro(n# the site! The Tempietto>s empietto >s main parts are base# on re%(lar %eometric soli#s!
CELLA - t3o-cylin#er arran%ement is create# by the str(ct(re>s main circ(lar core! The (pper part of the cella is comprise# of the #r(m, 3hich s(pports the hemispherical hemispherical #ome!
PERISTYLE - the rin% of col(mns that s(rro(n#s it! PARTS: 1 ; 0ella 2 ; Peristyle 0ollona#e 3 ; 0hapel 0ella is forme# by )A Doric col(mns 3ith also )A pilasters, 3ith niches on the e'terior! $ei%ht: 8A feet Diameter of colonna#e: 9 feet
##itioanal infos
Relative Dimensions of the Cylinders
The two cylinders formed cylinders formed by the buildings main parts are related to each other mathematically. mathematicall y. The width of the wider cylinder forming the peristyle peristyle is is e!ual to the height of the narrower cylinder forming the cella.
The drum and dome are dome are of e!ual height.
Colums: The si'teen col(mns formin% the peristyle 3ere constit(te# from both ol# an# ne3 parts! .Re-(sin% ancient b(il#in% materials 3as a common practice in the Renaissance!/
The %ray-%ranite %ray-%ranite shafts, shafts, 3hich stoo# o(t o(t in contrast contrast to the li%hter li%hter marble formin% the b(il#in%, ha# ori%inally been part of an ancient Roman Roman b(il#in%! The marble capitals an# bases 3ere car
!all A"t#$ulat#o Si'teen pilasters on the same ra#ii as the si'teen col(mns artic(late the cella 3all on each story! story! This arran%ement of pilasters is not #irectly reCecte# reCecte# on the interior, 3here ei%ht pilasters stan# bet3een lar%e an# small niches!
Co"#$e: The metopes an# cornice e'ternal tri%lyphs is repeate# in the cornice an# the internal 3all of the bo#y, re#(cin% the steps in =(st 4eepin% the plant an# the stan#ar#! The metopes e'ternal #ecoration 3hich all(#es to the martyr#om of Saint Peter, is a
##itional infos:
Suitability of the Doric Order The Doric orders plainness and masculinity lent a gravity that was in accordance with the buildings solemn purpose of mar"ing the place of #t. $eters martyrdom.
this small ch(rch ch(rch seate# only ten 3orshipers! 3orshipers! It is the earliest of the %reat %reat achie
N#$%es: The #ia%onal ?(a#rants ?(a#rants of both both the b(il#in% b(il#in% an# the co(rtyar# co(rtyar# 3ere 3ere to ha
Ite"#o" of t%e &ome: Insi#e the #ome, the ill(sion of seein% a s4y beyon# the #ome>s ribs is s(%%este# by the paintin% of %ol# stars a%ainst a bl(e s4y! In the Renaissance, Renaissance, s(ch ima%es 3ere (n#erstoo# as references to the 0hristian $ea
C"'pt: On the bac4 si#e =(st beyon# the colonna#e, a pair of stairs lea#s #o3n to the crypt! The position correspon#in% to the %ro(n#-story entrance is occ(pie# by an altar! circ(lar 3in#o3 thro(%h the ceilin% of the crypt enables
%dditional %dditional infos&
The large niche opposite the entrancecontains entrance contains a statue of #t. $eter holding holding the "eys to the "ingdom in one hand and the gospel gospel in in the other. 'n the pedestal below at
around eye level is level is a relief of #t. $eters crucifi(ion, crucifi(ion,which which was carried out in an upside)down position.
The space is evenly illuminated by placing the windows on multiple levels and facings.
