The Renaissance in Rome was a season that goes from the forties of the fifteenth century, until the climax in the first half of the sixteenth century, when the papal city was the most important place of artistic production of the entire continent with teachers who left an indelible mark on Western figurative art such as Michelangelo and Raphael.
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The fourteenth century, with the absence of the popes during the Avignon Papacy, was a century of neglect and misery for the city of Rome, which dropped to its lowest level of population. With the return of the papacy to Rome repeatedly postponed because of the bad conditions of the city and the lack of control and security, it was first necessary to strengthen the political and doctrinal aspects of the pontiff. When in 1377 Gregory XI was in fact returned to Rome, he found a city in anarchy because of the struggles between the nobility and the popular faction, and in which his power was now more formal than real. There followed four decades of instability, characterized by the local power struggle between the commune and the papacy, and internationally by the great Western Schism between the Roman popes and footnotes Avignon, at the end of which was elected Pope, by mutual agreement between the parties, Martin V family Column. He managed to reduce to order the city, laying the foundations of his rebirth [1].
Martin V, in the Apostolic reinsediatosi in 1420, was the first pope who could care for a revitalization of the city in terms monumental and artistic. In 1423 was called a jubilee to celebrate the rebirth of the town. His plan was to restore that luster to the city that also had a clear political purpose: to recover the glory of Imperial Rome he also proclaimed his successor and direct heir [2].
The first sites to be open about essentially the two poles of the later (with frescoes - now lost - in the Basilica di San Giovanni where between 1425 and [ [1430]] employees Gentile da Fabriano and Pisanello) and Vatican, where he was transferred to the papal residence, beginning the transformation of the area beyond the Tiber from a suburban area [2] enormous project.
Meanwhile, the city had begun to be a magnet for artists wishing to study and compare with the classical tradition of its ruins. The earliest reports of a journey made by foreign artists to try and study the forms and techniques of ancient Rome is that of 1402 when you went to the Florentines Brunelleschi and Donatello, who returned several times to find inspiration for what was the Renaissance art [3].
Pisanello and his assistants also frequently takes its inspiration from ancient remains, but their approach was essentially cataloging, interested in acquiring the most varied repertoire of models to be exploited later in different combinations and compositions, without an interest in understanding the essence of ancient art [4].
The pope, who had stayed in Florence, called to participate in its program Florentine artists such as Masaccio and Masolino, although the contribution of the first innovation was panned by premature death [5]. In 1443- 1445 Leon Battista Alberti wrote theDescriptio urbis Romae , where he proposed a system for a geometric arrangement of the city centered on the Capitol.
In any case one can not yet speak of a "Roman school" because the actions of artists, almost exclusively foreigners, were still largely tied to their cultural matrix, without specific contact information or addresses common [2].
Eugenius IV was, like his predecessor, a cultured and refined man, who traveled widely, knowing the new art of Florence and other cities and calling famous artists to decorate Rome. The Council of Basel had sanctioned the defeat of the thesis conciliarists and reaffirmed a monarchical structure of the papacy. Appendix A Florence had also been repaired, though in very short-lived, the age-schism of the East. In this context, it could continue its work to rebuild in the Roman basilicas. In the early forties was called the humanist Filaret, which ended in 1445 The bronze doors of St. Peter, where there is an early antiquarian taste linked to the capital and the its vestiges [6].
Shortly after they arrived in town Beato Angelico, which began a series of lost frescoes in St. Peter and French Jean Fouquet, which testifies to its presence of the nascent interest in Italy Flemish painting and Nordic generally [7]. Although the duration of the pontificate of Eugene IV did not allow to fully implement his plans, that Rome began to become fruitful meeting ground between artists of different schools, which soon would spread in a common style, and for the first time, defined as "Roman "[8].
Was with Nicholas V that the transformations of his predecessors took a sporadic features organic, paving the way for ambitious subsequent developments. The plan for the city focused primarily on five key [9]:
The intent was to obtain a citadel of religion on the Vatican hill, lay outside the city that had its focal point Capitol. In this project was tied inextricably to exalt the power of the Church, clearly demonstrating the continuity between Imperial Rome and Christian Rome [9].
For the brevity of the pontificate of Nicholas the ambitious project could not be completed, however, did converge in the city artists of different schools (especially the Tuscan and Lombard), who shared an interest in the antiquity and charm to the remains classic, which will eventually result in some way, a certain homogeneity of their work [9].
The presence of Leon Battista Alberti, although not directly related to actual construction sites (to which proved highly critical), it was important to reaffirm the value of the heritage of ancient Rome and its connection with the papacy. In 1452 dedicated to Nicholas V to the TreatyDe re aedificatoria , where they were theorized the foundation for reuse of the lesson of the ancients, updated with a complete renovation including elements derived from the medieval tradition [9].
A paradigmatic example of the style that developed in that period in architecture is Palazzo Venezia, launched in 1455 by incorporating existing buildings. In a courtyard of Palazzetto (which you do not know the author) are taken from Roman elements combined but without philological rigor, focusing functionality rigid adherence to the model. It incorporates the model of theviridariumand is inspired by the Coliseum in the architectural orders overlapped and in cornice with ornament in brackets. The width of the arches, however, is reduced and simplified so they will not look too impressive compared to the spaces they enclose. In the building itself (built from 1466), there was a more faithful revival of ancient models, which shows a gradual understanding deeper: for example, the hall was once a lacunar in concrete (taken from Pantheon or the Basilica of Maxentius) or in the loggia of the courtyard, with overlapping orders and semi leaning on the pillars as in Coliseum or in Teatro di Marcello [9].
The renewal of the Constantinian basilica of St. Peter was given to Bernardo Rossellino and provided for the continuation of the body by covering it with five aisles longitudinal cross vaults on pillars that were to incorporate the old columns, while the apse was rebuilt with ' expansion of the transept, the addition of a choir, which was the logical continuation of the nave and a domed room at the intersection of the transept and choir. This configuration may affect in some way on the next plan by Bramante for a total overhaul of the building, which have retained what is already built. [10] Work began around 1450, but with the death of the pope had no further development, and were nearly stagnant during the next papacy until Julius II who decided for a complete reconstruction [11].
The papal commission exerts an amalgam even stronger in painting, where the traditional models did not include binding. The renewal of the Apostolic Palace was a first step in the decoration of the private chapel of the pope, the chapel Niccolina, which worked Fra Angelico and aid, including Benozzo Gozzoli. The decoration included stories of San Lorenzo and St. Stephen, which were interpreted by Angelico in a style rich in details, erudite and wide variety of reasons, where his "Christian humanism" touches a expressive of its vertices. The scenes are set in majestic architecture, born from the suggestions of ancient Rome and early Christian times, but not linked to citations slavish, perhaps mindful of the projects that then circulated in the papal court for the restoration of St. Peter. The figures are solid, calm and solemn gestures, the tone was generally more stately of the usual brevity meditative artist [12].
In view of the Jubilee of 1450 were undertaken numerous jobs and revenue that ensured the celebrations in the city allowed him to draw a large number of artists including much verse together. The pope does not affect the consistency of style, in fact called to work for him Vivarini, Bartolomeo di Tommaso, Benedict Bonfigli, Andrea del Castagno, Piero della Francesca , a Luke said "German", perhaps Rogier van der Weyden, etc.. This wealth of ideas prepared the ground for the synthesis towards the end of the century, led to the creation of a language properly "Roman" [12].
Under Pius II, Pope human, worked on 1458 in 1459 Piero della Francesca, which left some lost frescoes in the Apostolic Palace, probably destroyed to make room for the Raphael's Rooms.
Determinants and ambitious projects were the Pope Sixtus IV, which staged the Vatican Library and entrusted the management to major human. Pictor Papaliswas namedMelozzo from Forlì, who frescoed one of the emblems of the Roman humanist culture of the time,Pope Sixtus IV appoints Platina prefect of the Vatican Library(1477), where the pope is portrayed among his grandsons in an opulent classical architecture. A few years later, Giuliano della Rovere, Melozzo paint the apse of the Basilica of the Holy Apostles with un'Ascensione Apostlesandbetween Angels playing , considered the first example fully aware of view "from sott'in on".
Toward the 1480 built the Sistine Chapel, which was to be decorated by artists originariamnete Umbria-Marche. The deployment of a Lorenzo the Magnificent meant that the commission of the wall decoration was entrusted to the best Florentine artists of the time (Botticelli, Perugino, Ghirlandaio and others), showing a first example of political use of the work of artists such as cultural ambassadors of their supremazioa. The boxes are characterized by a broad monumental, with many quotations from classical architecture (triumphal arches, buildings with a central plan), and the calm pace and secure the scene, whose narrative proceeds flowing [2].
The Sistine Chapel, now the seat of the most important ceremonies of the papacy, looked, well before the intervention of Michelangelo, point of reference for Renaissance art, setting milestones for the character developments of the late fifteenth [2].
The last part of this century was dominated by the figure of Pope Alexander VI Borja. The artist of this era was the reference Bernardino Pinturicchio, especially the imaginative author of the frescoes' Borgia Apartment in the Vatican palace, rich ornaments fashioned [2].
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