Mannerism

MANNERISM
Mannerism, Italian Manierismo, (from maniera which means, ‘manner’ or ‘style’),

was an artistic style that predominated in Italy from the end of the High
Renaissance in the 1520s to the beginnings of the Baroque style around 1590s.
The Mannerist style originated in Florence and Rome and spread to Northern Italy
and ultimately much of central and northern Europe.
The essential notes of Mannerism throughout its course in all the arts and
architecture were individualism and experimentation. It began as a term of
derision, much like Gothic and Baroque, and the works of Mannerism were long
looked upon as the stage into which the Renaissance degenerated. However, with
time Mannerism is now regarded as a valid and necessary period of invention and
experimentation, out of which eventually arose the Baroque.
Originated as a reaction to the harmonious classicism and the idealized naturalism

of High Renaissance, the artists of Mannerism loved conflicts, tension, antitheses,
and paradox. ‘Extreme internal tension’, was peculiar to Mannerism, expressed as
old forms were twisted, broken, left incomplete, deformed and put together in
unprecedented and shocking ways. The Mannerists consciously disregarded the
basic rules of tradition in order to evoke psychological responses, such as surprise,
uneasiness or shock.
Madonna with the long neck by Parmigianino

Example of Mannerist deformation
Mannerist artists were interested in the perfection portrayed by the High

Renaissance artists, but they did not seek to replicate it. Instead, they exaggerated
Renaissance principles, resulting in works that favored self-expressionism over the
pursuit of idealism.
MANNERIST ARCHITECTURE
During the High Renaissance, architectural concepts derived from classical
antiquity were developed and used greatly. Hallmarks of High Renaissance
architecture are symmetry, proportion, order, harmony, and references to the
buildings of the classical past.
However, as the Mannerist period came into light, architects experimented with
architectural forms to emphasize solid and spatial relationships. They did so by
deliberately playing with the symmetry, order and harmony typically found in
Renaissance architecture. This gave way to freer and more imaginative rhythms.
The best known artist associated with the Mannerist style is Michelangelo. With
his design for the vestibule of the Laurentian Library, there are ambiguities of how
to read the space, which result from Michelangelo’s playfulness with the
architecture itself.
Vestibule of Laurentian Library
In Mannerist architecture, there was a move towards more tense proportional

relationships. The inherently static circle was replaced in favor by the oval, a hybrid
form more suited to the Mannerist way of thinking. As the Renaissance had done
for the circles, the theorists of Mannerism tried to attribute the quality of
anthropomorphism to the oval form. The square, another inherently calm form was
super-ceded in favor of oblong rectangle. Forms became more linear and tense.
In addition to this elongation of spaces, other peculiar things were happening to

building plans. One of the most famous Mannerist example is Peruzzi’s Palazzo
Massimi in Rome. In this he curved the whole front façade in order to recognize
the street which had previously existed as one of site boundaries. This was a
foreshadowing of increased urbanistic concern as seen in that of Baroque
architecture later on.
Pallazo Massimi
Likewise, the plan form of Villa Madame by Rapheal had the main façade to be a
sweeping segment of a circle (less than a semicircle). The circle was sliced and
left, open ended and incomplete. In addition, its round form seems not in harmony
with the orthogonal layout of rooms behind. However unpleasant such forms might
have been in the Renaissance, these kinds of dissonances and incongruities were
acceptable and desirable to the Mannerists.
Villa Madame Plan

Furthermore, a primary way with which Mannerist architects took High
Renaissance a step further was by exaggeration. Also instead of a singular
meaning, Mannerists involved multiple meanings and derivations in their works.
Mannerists rejected realistic proportions and instead rendered juxtaposition of
numerous elements and orders. For instance, Michelangelo in his design of Porta
Pia combined elements of Medieval and Renaissance city-gate tradition with ideas
derived from garden and festival architecture. Castellation, remnants of rustication
and the Doric order are used as metaphors for strength, while main portal evolved
through a series of extraordinary drawings, superimposing and metamorphosing
one solution over the other.
Porta Pia elevation
In addition to these, another characteristic feature of Mannerist architecture was

contradiction and surprise. Various elements were used in places that no one from
the High Renaissance would expect them to be. For example in the courtyard wall
of Guilio Romano’s Palazzo del Te at Mantua, certain of the triglyphs have slipped
below the line established by the bottom of the architrave as if dislodged by an
earthquake. Some of the key stones of the window arches appear to have slipped
down into the space of the arc itself, thus contradicting the impression of stability
which the keystone of an arch is supposed to give. In the garden façade of the
main house, Romano has composed a disturbing arrangement of columns and
pilasters, which although organized, gives the first appearance of being chaotic.
Palazzo del Te (Courtyard)

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Mannerism, Italian Manierismo, (from maniera which means, ‘manner’ or ‘style’),

Originated as a reaction to the harmonious classicism and the idealized naturalism

Madonna with the long neck by Parmigianino

Mannerist artists were interested in the perfection portrayed by the High

Vestibule of Laurentian Library

In Mannerist architecture, there was a move towards more tense proportional

In addition to this elongation of spaces, other peculiar things were happening to

Villa Madame Plan

Porta Pia elevation

In addition to these, another characteristic feature of Mannerist architecture was

Palazzo del Te (Courtyard)

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