Comparing and Contrasting the Tempietto and Wainwright Building
The Tempietto by Bramante was intended to reconcile Christians and humanist ideals. Therefore, it was a monument of exceptional artistic with no practical functions. However, it was charged with profound Christian significance (Freiberg). The Wainwright by Sullivan is credited for today’s foundation of modern skyscrapers and also the magnificent ornaments that were seen in the 19th and 20th century that adorned the Wainwright building. Hence, it is indeed imperative that each structure is unique, but they have similarities and differences.
Artistically, the Tempietto is considered as one of the most excellent first architectural works of a high renaissance due to its features such as symmetry that is classical harmony antique found all through the building and simplicity. The Ancient Classical temples inspired the design of the Tempietto because of Piero who was a teacher and thus had taught the artist about the harmony of all parts. On the other hand, Wainwright building is the evidence of nature by Sullivan’s ornamental language (Upjohn). The ornament is regarded as one of the most self-evident features of Wainwright building. The entire surface of the structure is decorated with decorative patterns made of Tierra cotta which he uses to address his nature of ornamental language. Thus, both the Tempietto and Wainwright buildings depict the historical view of art.
The Tempietto was built for commemorating the crucifixion of St Peters, and it was believed that Peter died on this site (Freiberg). Due to this, several believers consider the place as a sacred since it was St Peters martyrdom as well as a place of worship. On the contrary, the Wainwright building is a masterpiece of Louise Sullivan that marked the beginning of modern skyscrapers. It served as a representation of a revolt over American dependence on Europeans architectural as depicted by the tall steel frames.
Tempietto is known for dominance circularity of themes that were initially forty feet tall. The Tempietto’s exterior is arcade of sixteen Doric pillars surrounding the cella. The chapel comprises of two stories. The first main story is in the middle of the arcade, and the other is directly above the first that surrounds the balcony. The openings are established along the outer part of the story which helps to stress on solidarity thus making the Tempietto one of the most significant renaissance (Foner and Garraty). However, Wainwright building had an elevator and electric lighting with full panels below each window which symbolized mechanical turning in the attic and floors. The exterior of The Wainwright structure had large windows that improved ventilation and provided light in large buildings. Therefore, this feature made Sullivan one of the most influential figures in the American architecture.
The central importance of Bramante’s architecture was based on human value thus both buildings were of vital importance to the community. According to ancient Roman statues, the Tempietto signifies a full revival of the ancient Roman commemoration of renaissance architecture (Benton and DiYanni). Additionally, the Tempietto attempts to reconcile Christian and humanistic deals hence considered as the crowning jewel of Renaissance architecture that was a famous religious structure during the period. The Wainwright building was significant since it was used to utilize original modernity style in giving visual unity to tall buildings. The Tempietto and the Wainwright building played different significance roles during their period. The buildings were highly valued, and as a result, they contributed to the great history of art.
Works Cited
Benton, Janetta R, and Robert DiYanni. Arts and Culture: An Introduction to the Humanities. Boston: Prentice Hall, 2012.
Foner, Eric, and John A. Garraty, Eds. The reader's companion to American history. HMH, 2014.
Freiberg, Jack. Bramante's Tempietto, the Roman renaissance, and the Spanish crown. Cambridge University Press, 2014.
Upjohn, Everard M. "Hugh Morrison," Louis Sullivan-Prophet of Modern Architecture"(Book Review)." The Art Bulletin 18.1 (1936): 125.
