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Known as the Renaissance, from the 14th to the 17th century europe experienced a cultural, artistic, political, and economic “rebirth”, revealing some of history's greatest philosophers, artists, and architects rediscovering man’s knowledge of science and art. Looking specifically at Florence during the early 15th century, the city was discovering a new order of architecture and art influenced by the city’s culture, politics, and religion. Architectural works such as Brunelleschi’s Santa Maria degli Angeli and art pieces like Masaccio’s fresco the Holy Trinity show Florence's Renaissance ideals and advancements in technology.
Filippo Brunelleschi played a major role in defining Florence during this time through his many innovative works, including his mysterious yet revolutionary rotunda of Santa Maria degli Angeli built in 1434 for the Camaldolese monastery. Brunelleschi’s design was revolutionary as it was the first example of a centralized plan during the Renaissance, breaking from the traditional form of a cross. The Oratories plan implements perfect symmetry and proportions through its circular and octagonal geometry. Consisting of eight chapels with deeply recessed apses, linked together by narrow corridors, the eight sides of the rotunda create a 16-sided perimeter on the exterior of the building. As eight piers support the octagonal dome, they also help divide the space acting as both form and function. The church’s design also emphasizes depth shown in its cut-out niches of the exterior wall and deeply recessed apses. Brunelleschi shows the influence of humanism characterizing the building by its harmonious form, mathematical proportion, and a unit of measurement based on the human scale creating a structure appealing to both emotion and reason. Another key element of the oratory is its prominent ancient Roman architectural influence shown through its centralized plan and pier construction resembling that of the Pantheon in Rome.
While the Renaissance period placed a large emphasis on the architecture of religious buildings, churches and basilicas in Florence were also established through the artwork inside. In Florence's Santa Maria Novella sits Masaccio’s momentous fresco the Holy Trinity completed in 1425. Depicting the Holy Trinity, the fresco is known as the earliest work using Brunelleschi’s one-point perspective technique, advancing the accuracy and perfection artists could once achieve. Following the Renaissance style, the painting is laid out in almost perfect symmetry with an emphasis on its precise geometric proportions. The influence of Humanism at this time can be seen through the painting's subject matter, as it is centered around the human individual and depicts God as a man rather than an abstract force or power. The painting's more realistic and earthly surroundings rather than the heavenly realms also show humanism. In the painting's setting, Masaccio outlines classic Roman architecture which can be seen in elements such as its columns, pilasters, coffered ceiling, barrel vault, ionic and Corinthian capitals, and fluting. It was also thought that Masaccio's work may have been helped by Brunelleschi himself, to incorporate Roman architectural elements and linear perspective into the piece. Another key aspect of the fresco is its unprecedented use of depth and realism, which demonstrate humanism as well as Masaccio’s individualism.
When recognizing these two magnificent Renaissance works of Florence’s quattrocento, many similarities outline parallel ideas and similar formal organizations. Both works acquire clear acknowledgment of the humanism movement through their mathematical proportions and subject matter both relating to man. As well as having perfect symmetry the pieces also emphasize depth in the second and third dimensions. Both Masaccio’s fresco and Brunelleschi’s oratory also possess prominent classic Roman architectural elements such as key architectural elements in the fresco and the oratory's centralized plan. Overall, Brunelleschi’s revolutionary centralized plan of Santa Maria degli Angeli and Masaccio’s cardinal implementation of Brunelleschi’s linear perspective technique in the Holy Trinity, make both individuals prominent pioneers of this Renaissance-era embodying both Humanism and Individualism.
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