MICHELANGELO

03 - DONATO BRAMANTE / LUCIANO LAURANA

Santa Maria Della Pace Palazzo Ducale Rome Urbino

Bramante’s view of the courtyard as a ‘space in itself’, or in other words, a self-referential architectural composition is formulated by the rigorous employment of the modular grid and systematic subdivision in three dimensions. The ‘self-referential’ deviates from the Renaissance norm – the ideas demonstrated by Brunelleschi – where referential datum would inform and direct the observer’s experience. This self-referential datum is created by Bramante in his positioning of architectural elements and his registration of the corner of the courtyard. The courtyard in Laurana’s Palazzo Ducale can also be argued to be ‘self-referential’, however, the method of delimitation seems to be different from Bramante. In Santa Maria della Pace, a cross-axis is introduced and sixteen piers are positioned around the courtyard. Pilasters of the Ionic order is placed with the piers, extending to the entablature, raised on a pedestal. The cross-axis is bolstered by the reiteration of the Pillar on the second story – similar composition to the Ionic pilaster on the first story – in the Composite order, suggesting an elevational extension. However, the piers and the Ionic pilasters in four corners of the courtyard are reduced to fragments (thread forms), undermining the corner as a delimiting element. The erosion of the corner renders the courtyard space to be approximated to a rounded corner or an octagonal plan. In Palazzo Ducale, the corners are very much accentuated; the cross-axis condition (pier, elevational extension, and pilaster extensions) existent in Santa Maria della Pace seems to be employed in the corners of Palazzo Ducale. Moreover, the Corinthian columns (circular section) surrounding the courtyard does not entirely serve as a delimiting element in comparison to a wall-like pillar (rectangular section) in Santa Maria della Pace. Finally, the coat of arms in the second story of Santa Maria della Pace underscores the primacy of the cross-section over the corners, whereas the fountain situated in the corner of the courtyard in Palazzo Ducale underscores the emphasis on corners as a delimiting element of the middle space.