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The flat passageways over the screen walls and on top of the central block were intended to form galleries from which the ladies of the court could observe the hunt.From Florence the early Renaissance style spread gradually over Italy, becoming prevalent in the second half of the 15th century.

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Villa Giulia (. With the exception of Giulio Romano, none of the important artists active in Rome at this time was Roman by birth. The resultant town with street arcades resembles those of northern Italy. With the exception of a few brief outcroppings of Classicism in such centres as Marseille and Gaillon, French early Renaissance architecture was centred in the Loire Valley, since the capital of France was at nearby Tours during the reign of Louis XII and the early. The Renaissance might have been expected to appear first in Rome, where there was the greatest quantity of ancient Roman ruins; however, during the 14th and early 15th centuries, when the Italians were impelled to renew classicism, the political situation in Rome was very unfavourable. Religious architecture continued in the Gothic mode, and most secular architecture was local in style with only a slight influence from the Italianate Renaissance. The French aristocracy imported Italian architects and artists who had been influenced by the Italian Renaissance and who were considered to have a higher social standing than artisans. Unlike the harmonious orders and openings of the High Renaissance, these are constricted by the pilasters so that a tension is created in the wall surface. German architecture of this period was abundant with medallions, herm s (i.e., architectural elements topped by human busts and caryatids and atlantes (i.e., human figures used as columns or pilasters). Under these three stories in the centre of the facade is a loggia or colonnade, which cadeaux seems of questionable adequacy as a support for the apparent load. Colour was emphasized by the use of variegated marble inlays, as in the facade of the church of the Certosa di Pavia (begun 1491) or in most Venetian architecture. The favourite building material of northern Italy was brick with terra-cotta trim and decoration, a combination by means of which a pattern of light and dark was created over the entire building. The finest example of the early French Renaissance style is the château, or hunting lodge, erected between 15 for Francis I at Chambord. The detailed archaizing elements of this manner were taken up later by Pirro Ligorio, by the architects of the Palazzo Spada in Rome, and by Giovanni Antonio Dosio. One of the most charming buildings of the period is the Villa Farnesina (150911) at Rome by Baldassarre Peruzzi from Siena. The facade is composed in proportions as a double square. The great Belvedere court (begun 1505) was planned to bring together the two disparate elements of the older palace attached to the church and the Belvedere villa of Innocent viii on the hill above the palace.

The Gothic style continued in many parts of England throughout most of the 16th century. Next, richly coloured tiles created decorative geant patterns on the walls as in Moorish art. As if they had just been hacked out of the quarry. The, medieval Florentine palaces were built of great rusticated blocks of stone. Since the elements of the composition are less independent than they would be in High Renaissance architecture. G harrahs The ornamental features of windows and portals are Classical. Centred almost exclusively in the city of Rome.

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Instead of art harmony, reveals a thorough understanding of the principles of Italian design but is expressed in French terms. Clarity, colour was used in Florentine architecture to stress the linear relationship rather than for overall patternistic western uses as in northern Italian architecture. But such a monument required a proper setting.

El Escorial was begun by the architect Juan Bautista de Toledo, who may be responsible for the planning, but the execution and architectural style were that of his assistant and successor, Herrera.In the centre of a cubelike block (typical of most Palladian villas) is a circular hall, and on all four sides are projecting Classical temple fronts as porticoes, resulting in an absolute Classical symmetry in the plan.

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The facade shows a full understanding of the principles of Italian Renaissance design in its superimposition of orders and in the alternating rhythm of the triangular and segmental pediments above the windows of the second story.