Façade of Santa Maria Novella on axis (Scott Gilchrist, 1994, FADIS database)
The exterior surface of a building is a key part of it. As seen through the several buildings discussed here, the Renaissance architect engaged in a relationship with the viewer. The outside of the building reads instructions the architect meant for the viewer to follow.
The Palazzo del Te is meant for a viewer who knows Renaissance architecture, but its main goal is to challenge those classical ideals and practices. By playing with known Renaissance elements, the building solidified its status as a pleasure palace that was meant for relaxation and fun among Federico Gonzaga and his friends. A more classically-designed building like the Tempietto used its façade and surface elements to achieve the same aim: the ordered exterior with imagery associated with St. Peter established its role as a personal devotional space.
When looking at Hungary, the royal palaces of Buda and Visegrad did much the same thing. King Matthias’ court filled with Italian architects and artists created Renaissance façades on buildings that were great Gothic works, and used the spaces to establish the wise and strong leadership of the king. This phenomenon of medieval buildings with Renaissance renovations was seen elsewhere, such as with the dome of the church of Santa Maria del Fiore and the façade of the Santa Maria Novella. Both buildings were appropriated for the time and their finishings were done in such a way as to reflect the ordered and harmonious nature of classicism, ideals with which the church found appealing to associate itself with.
The architects of the Renaissance had a very important job to explain to their knowledge-hungry viewers what they could do and what the implications of many different visual elements could be. In this way, the outer surface of a building took on the key role of being the very first impression of the space, and set the tone for what the user would do inside.
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