Il Gesu Church (Church of the Gesu) of the Piazza del Gesù is situated in the centre of Rome, Italy and much bigger than Pazzi Chapel. Constructed by Vignola from 1568 to 1580 and funded by Allessandro Cardinal Farnese. This thesis compares the research that has been done on the Pazzi Chapel and, in turn, compare it the Il Gesu Church.
While the Pazzi Chapel is gaining popularity by the day, there have been a number of attempts to discredits it popularity based on features such as setting, building mass, facades interior, construction, materiality, style and colors. The closest comparison that the Pazzi chapel building can have is the Il Gesu. However, is the Pazzi better than Il Gesu?
The construction system of the chapel was loaded bearing masonry, made of concrete masonry blocks. Cement and synthetic adhesives are used as mortar to bond the masonry. The context of the chapel was intended to be a chapter house for religious teaching purposes. The interior and exterior of Pazzi Chapel are controlled by pillar type, which is popular during the Renaissance period. The architect shrewdly uses pillar type structure inside Pazzi Chapel to divide the front colonnade at facade into five, and the middle one is the biggest to separate the colonnade into two parts, and to highlight the center .
The Pazzi Chapel, this small but gorgeous building reaches the vertex of the early Renaissance style.3. This chapel is full of rational and peace atmosphere and the constant change of the chapel causes a bright contrast with gothic architecture form. An attribution to the altar that was placed opposite to the entrance reflected from the inside, located at the center of the chapel that is visible from the facade. Six monolithic Corinthian columns symmetrical to each other supported the facade of the chapel, and a semi-circle opening is located in the upper part of the facade. There were no decorations on the column itself, but on the upper part of the facade, religious symbols were carved on the wall and around the dome. There were two narrow bays to the either side of the central bay. Four rectangular panels are located at the either side of the semicircular archivolt. The upper part of the facade was designed for the preparation of revetment. The basic symmetrical geometric form of deposition was used on the facade that was continuing designed on the interior. Differently, Brunelleschi not only used simple geometric from to design the interior part of the chapel, but also re-arranged these geometrical displacement. For example, circular domes were built above the rectangular structure. The ceiling of the chapel was evenly divided into twelve triangle shapes. The walls of the chapel are associated with six fluted Corinthian pilasters. These pilasters were lateral to the narrow bays. The narrow bays support as the medium to the arched window. Not to mention, there was a large rectangular window was built on the rear side of the wall. The window itself reflects the facade. The decorations of the chapel were majorly made in terra cotta, twelve terra cotta Apostles were encircled by the roundels, and twelve niche-shaped moldings were under the Apostles of the lambs. These Apostles were arranged in a group of three placed on the four corners of the chapel faces the compass and the color of all these pilasters, domes, even the chapel were majorly white. All of these arrange symbolized Florence as a heavenly city. Even though the chapel is small,