Architecture and Literature of the Renaissance

Architecture of the Renaissance reflects the earlier works of the Roman, Byzantines, Moslems, and many other civilizations. The S. Pietro No. 1 was begun in 1564 and was designed by Michelangelo Buonarroti, and Carlo Maderna. Many components of this structure reflect their foreign influences. The large, ominous dome along with the two smaller, less intimidating ones confirm the Byzantine style had entered the Renaissance. Grand, elaborate columns demonstrate Roman and Greek style of temples. An ornamental façade decorates the entrance to the palace and represents more Roman culture. Throughout the building, high arches form the doorways. In the side view, they are evident on the smaller dome, also. Again, Roman culture has proven to have infiltrated the Renaissance style. Sculptured shells adorn the larger dome, and a stone mullion made of two columns and a stone vertical bar separates each window, two structures also found on the Pantheon. All of these elements combine to form this magnificent representation of Renaissance architecture.

Much of the Renaissance literature had its basis in Greek lyrics. Originally, the poems of the Renaissance were written in Provençal dialect, which is a combination of French and Italian. Many poems praised women, spoke of love, and referred to God and other deities. Several authors of this time were humanists. One said to be so was Francesco Petrarch. In his Sonnet 3, he tells the tale of his love having been taken from him by the plague. In the beginning, he refers to God as being the "Maker." He goes on to tell how he fell in love with a woman without even thinking that anything could go foul. When she dies of the plague, he begins to show his human feelings of pain of having his only love torn from his grasp. He makes an allusion to cupid when he speaks of the shaft that kills, being cupid's arrow. That line showed his humanistic frustration by referring to falling in love as being murderous.