Bernardo Rossellino facts for kids
Bernardo Rossellino (born Bernardo di Matteo del Borra Gamberelli; 1409–1464) was an important Italian Renaissance sculptor and architect. He was born in Settignano and later worked in Florence. Bernardo was the older brother of another famous sculptor, Antonio Rossellino. He was part of the second group of Renaissance artists who helped make the new artistic style popular. His work can sometimes be hard to tell apart from his brothers' work, as they all worked together in the family workshop.
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About Bernardo Rossellino
Bernardo Rossellino grew up in a family of farmers and stone quarry owners in Settignano, a village near Florence. He might have learned about stonemasonry from his uncle. By 1420, Bernardo was in Florence, learning from a well-known sculptor, possibly Nanni di Bartolo. This might be why he and his brothers were nicknamed "Rossellino," meaning "the little redhead."
Bernardo learned a lot from the exciting new art ideas in Florence during the 1420s. He was very interested in the fresh approaches of artists like Brunelleschi, Donatello, Ghiberti, and Masaccio. Bernardo truly embraced the classical style, which looked back to ancient Greek and Roman art.
He became famous for his sculptures, like the Leonardo Bruni Tomb. But he became even more known for his work as an architect. He gained lasting fame for his projects in Rome for Pope Nicholas V and especially for rebuilding the town of Pienza for Pope Pius II. Bernardo was also a skilled businessman. He built a large and successful workshop that was very important in stonework in Florence during the 1450s and 1460s.
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Early Work in Arezzo (1433-1435)
In 1433, Bernardo worked in Arezzo. He was hired to finish the front of the Fraternita di Santa Maria della Misericordia building. This was a big challenge because the bottom part of the building was built in the older Gothic style. Bernardo had to find a way to combine Gothic and the new Renaissance styles.
He designed the upper part with a mix of Gothic and classical elements. In the middle, he placed a sculpture of the Madonna of Mercy, who was seen as the protector of Arezzo. She is shown spreading her cloak over the people. Bernardo finished this project in 1435. This early work showed his talent for mixing different styles, which became a key part of his artistic approach.
Back in Florence (from 1436)
Bernardo Rossellino returned to Florence in 1436 and opened his own workshop. He worked on the Aranci Cloister of the Badia, adding a stone doorframe and a unique cross window. He also played a big role at the Santa Maria alle Campora monastery, where its cloister (a covered walkway) was one of the first built with Renaissance ideas.
In 1444, he created two altar figures for a church in Empoli. These sculptures of the Virgin Mary and Archangel Gabriel showed his graceful and classical style, influenced by artists like Donatello and Ghiberti.
During the 1440s, Bernardo's workshop took on several important projects that combined sculpture and architecture. One was a grand entrance for the Palazzo Pubblico in Siena. This beautiful and richly decorated doorway is considered one of the finest of its kind from that time.
The Tomb of Leonardo Bruni
Another major project was the tomb for Leonardo Bruni (who died in 1444) in the Santa Croce church in Florence. Bruni was a famous historian and a high-ranking official in Florence. While there are no official records, many sources say Bernardo Rossellino designed this tomb.
The Bruni Tomb looks like a triumphal arch, a type of arch used by ancient Romans to celebrate victories. It has a shallow space with columns and a rounded arch at the top. Inside, Bruni's coffin supports a statue of him. Above the statue, there's a round sculpture (called a tondo) of the Madonna and Child, with angels. Two large angel figures (called putti) hold Bruni's family crest.
Bernardo used ideas from older tombs, but he made the Bruni tomb special because of its sense of unity. It became a model for many later Renaissance tombs, including one for Carlo Marsupini by his student, Desiderio da Settignano. These works showed Bernardo's deep understanding of ancient art, which was central to the Renaissance.
Spinelli Cloister and Rucellai Palace
Another great architectural work from Bernardo's early years was the Spinelli Cloister at Santa Croce in Florence (1448–51). This cloister is known for its beautiful rhythm, created by careful mathematical proportions, similar to the work of Brunelleschi. The detailed sculptures in the cloister, like the doorframes and capitals, are unique to Bernardo's workshop.
Around the same time, Bernardo also worked for a wealthy banker named Giovanni di Paolo Rucellai. He helped redesign several old buildings into a new family palace. Bernardo's work included creating a new courtyard and a passage leading to it.
Working in Rome (1451-1455)
Bernardo's career changed when he went to Rome in 1451. He joined a large team of architects working for Pope Nicholas V. The pope wanted to rebuild and improve the ancient city. While some stories exaggerated his role, Bernardo did work on the Vatican Palace and helped restore the old church of San Stefano Rotondo.
His main job in Rome was to create plans for rebuilding the Vatican and St. Peter's. However, these big projects were never finished because the pope died in 1455. Even so, Bernardo's time in Rome was very important. It strengthened his desire to bring back ancient styles in his art and exposed him to the ideas of another great architect, Alberti.
While Bernardo was in Rome, his workshop in Florence was run by his talented brothers, especially Antonio Rossellino. They focused more on sculptures. When Bernardo returned to Florence, he oversaw the workshop but spent more time on architecture, which was more profitable. Many sculptures from the Rossellino workshop during this time, like the beautiful mortuary chapel for Cardinal James of Portugal at San Miniato al Monte, probably had Bernardo's approval but were mostly carved by his brothers and other artists.
Bernardo also continued working on the Spinelli Palace, combining several buildings into one. He also returned to Giovanni Rucellai's palace to add a grand stone facade (front) to it. This facade, with its classical columns and detailed stonework, made the Rucellai palace stand out. While Alberti is often linked to its design, Bernardo's involvement was clear. In 1461, Bernardo Rossellino was recognized for his artistic importance when he was named chief architect of the Florence Cathedral, a very honorable title.
Pienza: A Perfect City (1459-1461)
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Bernardo Rossellino's most famous architectural achievement was the amazing project he did for Pope Pius II Piccolomini in Pienza. Between 1459 and 1464, Bernardo completely transformed a small village into a beautiful, planned city.
He built an impressive family palace, a grand cathedral, a town hall, a bishop's palace, and other buildings. All these structures were carefully placed around a special trapezoidal (four-sided, but not rectangular) square. This design brought together architectural styles from Florence, Siena, and Rome. He also oversaw the building of many other palaces and homes for the citizens of Pienza.
For the Piccolomini Palace, a large three-story building, he designed three detailed fronts that looked like the Rucellai palace. He also created a garden side with three levels of open loggias (covered walkways) that offered a wonderful view.
At Pienza Cathedral, he added a classical exterior to a "hall church" style building. Inside the Cathedral, the elegant Altar of St. Andrew and the ornate baptismal font show the continued sculptural work from Bernardo's workshop in Florence.
The true importance of Pienza is not just in each building, but in Bernardo's ability to see the whole town as one unified design. This idea of urban planning was very new and later influenced architects like Michelangelo. Bernardo had the rare chance to put his ideas into practice, creating one of the most pleasing and harmonious city designs in history.
Bernardo died in Florence on September 23, 1464. His students and assistants included his younger brother Antonio, Desiderio da Settignano, and Mino da Fiesole. His workshop continued under Antonio's leadership, but they focused only on sculpture after Bernardo's death.
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See also
In Spanish: Bernardo Rossellino para niños
