Giorgio
Maggiore
Giorgio Maggiore represents one of the best buildings
built in the 16th Century; the building is a worshiping Centre for many
Christians in the island of Venice. History indicates that Andrea Palladio
designed the building between the 1565 and 1600. Palladio, incorporated a lot
of creative and great expertise architecture in designing the building; the
architecture work is still relevant to the contemporary world (Perry 2014). There lies Biennale garden past the building that showcases
all major new contribution of other architects involved in the construction of
the building, but great emphasis is on Palladio works.
The Interior of Giorgio Maggiore.
The building captures the traditional Italic style of
building embraced in the ancient times.
The building captures the classical style of the Rome and Greece
architecture especially by the use of marble columns and arches, with
undecorated white walls. The essence of designing the building this way is to
create a sense of order, balance, and logic when reflected by the light after
the opening of the windows. The building
capture the divine Christianity believe by adopting the shape of the cross. In
designing the building, Palladio used a lot of formula and mathematical
calculations to create a sense of creative work (Perry 2014).
Image by www.oberlin.edu
The building further houses other artistic works such as
the “Last Supper” on the undecorated interior side. Jacopo Tintoretto was the
main artist who crafted the last supper decoration in the interior of the
building. Besides, the building
demonstrates great expertise in incorporating dark and light to illustrate an
attractive outline (Perry 2014).
Tintoretto also designed other works present in the building
demonstrating a great use of colors to make attractive images.
The Exterior of San Giorgio Maggiore
The building is noticeable from a far due to the great
expertise demonstrated in incorporating the red and white colors. The white
marbles reflect the ancient Roman Temple, in particular, styled by the marble
facade. Just like in the inside, Palladio demonstrated great mastery in the
calculation and geometrical ratios to capture Christianity and still maintain
an attractive appealing (Perry 2014). There are also four gardens and
courtyards that take resemblance from the Pompeii-a style adopted in Rome for
designing courtyards.
Moreover, the building houses a library that contains all
the information regarding the building. The library houses major works of
individuals involved in the building and adding renovations to the
building. The archival material present
in this library demonstrates great creativity used in the construction of the
building. The creative outlet of the structure is what gathers the attention
and environmental value of the building. The building is a large conclusion of
what it means to define modern architecture and its adopted style and variation
of building.
Work
Cited:
Perry, D. M. (2014). The Material
Culture of Medieval Venetian Identity1. Mediterranean Identities in the
Premodern Era: Entrepôts, Islands, Empires, 15.
Paintings, Author: Department of European.
"Architecture in Renaissance Italy | Essay | Heilbrunn Timeline of Art History | The Metropolitan
Museum of Art." The Met's Heilbrunn Timeline of Art History. N.p., n.d. Web.
04 Dec. 2016.
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