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    Renaissance Revival Interiors: Renaissance Villa Farnese Balustrading

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    pujari sai kumar babu
    Renaissance Revival interiors were inspired by features from 16th century Italian villas like curved staircases, tall segmented windows, and marble balustrades. During the Renaissance, architects focused on exteriors while artisans decorated interiors. In the 19th century Neo-Renaissance period, improved building techniques allowed for larger windows and individualized interior styles blending different architectural influences, like the Rothschild house in England mixing elements of French and Italian chateaus. By the early 20th century, Neo-Renaissance architecture had become widespread in towns globally and evolved into styles not always recognizable as derivative of the original Renaissance.

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    Renaissance Revival Interiors: Renaissance Villa Farnese Balustrading

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    pujari sai kumar babu
    44 views2 pages
    Renaissance Revival interiors were inspired by features from 16th century Italian villas like curved staircases, tall segmented windows, and marble balustrades. During the Renaissance, architects focused on exteriors while artisans decorated interiors. In the 19th century Neo-Renaissance period, improved building techniques allowed for larger windows and individualized interior styles blending different architectural influences, like the Rothschild house in England mixing elements of French and Italian chateaus. By the early 20th century, Neo-Renaissance architecture had become widespread in towns globally and evolved into styles not always recognizable as derivative of the original Renaissance.

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    Renaissance Revival interiors were inspired by features from 16th century Italian villas like curved staircases, tall segmented windows, and marble balustrades. During the Renaissance, architects focused on exteriors while artisans decorated interiors. In the 19th century Neo-Renaissance period, improved building techniques allowed for larger windows and individualized interior styles blending different architectural influences, like the Rothschild house in England mixing elements of French and Italian chateaus. By the early 20th century, Neo-Renaissance architecture had become widespread in towns globally and evolved into styles not always recognizable as derivative of the original Renaissance.

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    44 views2 pages

    Renaissance Revival Interiors: Renaissance Villa Farnese Balustrading

    Uploaded by

    pujari sai kumar babu
    Renaissance Revival interiors were inspired by features from 16th century Italian villas like curved staircases, tall segmented windows, and marble balustrades. During the Renaissance, architects focused on exteriors while artisans decorated interiors. In the 19th century Neo-Renaissance period, improved building techniques allowed for larger windows and individualized interior styles blending different architectural influences, like the Rothschild house in England mixing elements of French and Italian chateaus. By the early 20th century, Neo-Renaissance architecture had become widespread in towns globally and evolved into styles not always recognizable as derivative of the original Renaissance.

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    Renaissance Revival interiors[edit]

    True Renaissance: The Villa Farnese: the curved staircase, tall segmented windows, and
    marble balustrading were all features frequently reproduced in the 19th century revival.

    As mentioned above, the Neo-Renaissance style was in reality an eclectic blending of past
    styles, which the architect selected on the whims of his patrons. In the true Renaissance era
    there was a division of labour between the architect, who designed the exterior highly visible
    shell, and others—the artisans—who decorated and arranged the interior.[9] The original Italian
    mannerist house was a place for relaxation and entertaining, convenience and comfort of the
    interior being a priority; in the later Baroque designs, comfort and interior design were secondary
    to outward appearance. This was followed by the Neoclassical period, which gave importance to
    the proportions and dignity of interiors, but still lost the comfort and internal convenience of the
    mannerist period. It was during the Neo-Renaissance period of the 19th century that the
    mannerist comforts were re-discovered and taken a step further. Not only did the improved
    building techniques of the 1850s allow the glazing of formerly open loggias and arches with the
    newly invented sheets of plate glass, providing the first "picture windows", but also the blending
    of architectural styles allowed interiors and exteriors to be treated differently. It was at this time
    that the concept of "furnishing styles" manifested itself, allowing distinctions to be made between
    interior rooms and external appearances, and indeed between the various rooms
    themselves.[9] Thus the modern concept of treating a room individually, and differently from its
    setting and neighbours, came into its infancy. Classic examples of this are the great Rothschild
    house in Buckinghamshire, hybrids of various Renaissance chateaux, and 16th century English
    country houses, all with interiors ranging from "Versailles" to "Medici", and in the case of
    Mentmore Towers a huge central hall, resembling the arcaded courtyard of a Renaissance villa,
    conveniently glazed over, furnished in Venetian style and heated by a fireplace designed
    by Rubens for his house in Antwerp[10]

    Legacy[edit]
    By the beginning of the 20th century Neo-Renaissance was a commonplace sight on the main
    streets of thousands of towns, large and small around, the world. In southern Europe the Neo-
    Renaissance style began to fall from favour circa 1900. However, it was still extensively practiced
    in the 1910s in Saint Petersburg and Buenos Aires by such architects as Leon Benois, Marian
    Peretyatkovich, or Francisco Tamburini (picture).
    In England it was so common that today one finds "Renaissance Italian Palazzi" serving as
    banks or municipal buildings in the centres of even the smallest towns. It has been said "It is a
    well-known fact that the nineteenth century had no art style of its own."[11] While to an extent this
    may be true, the same could be said of most eras until the early 20th century, the Neo-
    Renaissance in the hands of provincial architects did develop into a style not always instantly
    recognisable as a derivative of the Renaissance. In this less obvious guise the Neo-Renaissance
    was to provide an important undercurrent in totalitarian architecture of various countries, notably
    in Stalinist architecture of the Soviet Union, as seen in some pavilions of the All-Soviet Exhibition
    Centre.
    Neo-Renaissance architecture, because of its diversity, is perhaps the only style of architecture
    to have existed in so many forms, yet still common to so many countries.

    Provincial Neo-Renaissance English style: the NatWest Bank at Leighton Buzzard, Bedfordshire,
    England is an example of the manner in which Neo-Renaissance architecture evolved among
    lesser architects in more modest surroundings as it gained in popularity

    Gottfried Semper's Dresden Semper Opera House of 1870, incorporating


    both Baroque and Renaissance architectural features

    Neo-Renaissance Russian style: a little recorded, Neo-Renaissance building


    showing Baroque and Rococo influences in Yaroslavl, Russia

     First Congregational Church in Toledo, Ohio, 2019, built in the Italian Renaissance style and
    featuring windows created by Louis Comfort Tiffany

    Neo-Renaissance-styled Kuopio Town Hall from 1886, designed by F. A. Sjöström and Josef
    Stenbäck

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