title: Sadhana Shivdasani

text: In "Intaquam" she played the role of a woman who revengefully lures the son of her own boss who cheated her, to be put behind the bars for a crime he did not commit. In 1974, her directorial venture "Geeta Mera Naam" was released. Produced by her husband, the film had herself playing the lead actress along with Sunil Dutt and Feroz Khan. It was also Saroj Khan's first film as an independent dance director. The film did "above average" business at the box office.


title: Sadhana Shivdasani

text: After that, she retired from acting, as she did not want to be cast as a side-actress or do character roles. Later, she and her husband formed a production company. She also produced the movie "Pati Parmeshwar", starring Dimple Kapadia in 1989.


title: Sadhana Shivdasani

text: Sadhana married her "Love in Simla" director Ram Krishna Nayyar on 7 March 1966. Their love blossomed on the film set. But as she was very young then, her parents opposed it. They were married for nearly thirty years, until his death in 1995 from asthma. The couple had no children. In 2013, she stated that she doesn't keep in touch with her first cousin Babita but does keep in touch with actresses such as Asha Parekh, Waheeda Rehman, Nanda, Shammi Aunty and Helen Jairag Richardson.


title: Sadhana Shivdasani

text: She suffered from eye problems due to hyperthyroidism. After her retirement from acting, she refused to be photographed. Living in Santacruz, Mumbai, she rented an apartment building owned by singer Asha Bhosle.


title: Sadhana Shivdasani

text: Sadhana introduced the fringe hairstyle in the Indian film industry in her first film "Love in Simla". R.K. Nayyar, director of the film and her future husband, suggested the fringe style in order to make her forehead look narrower. Sadhana says: "They tried to stick a strip near the hair-line, but it didn’t work out." Nayyar then suggested she go for the fringe style as was then sported by the Hollywood actress Audrey Hepburn. The fringe soon became popular and a fashion fad in the 1960s.


title: Sadhana Shivdasani

text: The style was copied by girls in India and is still known by the same name. The look suited the role of naughty, pretty, glamorous Sonia that she played. But when Sadhana went on the shoot for Bimal Roy's "Parakh", Roy was disappointed to see her modern look. She had to stick her fringe back in order to match the simple village girl she played here. In 1963, when she signed to play a role of a simple Muslim girl from Aligarh in "Mere Mehboob", Sadhana undid her famous "Sadhana cut" to fit the bill. She had centre-parted her hair and wore it in a plait, which was immediately discarded by the director H.S. Rawail. He said that the audience wanted to see her signature "Sadhana cut" and demanded it. Many years later, the Bollywood actress Deepika Padukone sported the same fringe in her films "Om Shanti Om" (2007) and "Chandni Chowk To China" (2009).


title: Sadhana Shivdasani

text: Sadhana is also credited with bringing into fashion the tight "churidar-kurta". She went with this concept of gracefully changing the traditional loose salwar kameez to her director Yash Chopra for the 1965 film "Waqt". Chopra felt insecure and thought that it would not be accepted. But Sadhana, with the help of her fashion designer Bhanu Athaiya showed him a sample, which he liked. The trend lasted well into the 1970s and can be seen, adopted by many actresses.


title: Sadhana Shivdasani

text: In a song sequence of "Phir Milenge Chalte Chalte" for "Rab Ne Bana Di Jodi" (2008), actress Bipasha Basu dressed herself in a white "churidar-kurta" and also frolicked with the famous fringe as a tribute to Sadhana.


title: Sadhana Shivdasani

text: In 2014, Sadhana made a rare public appearance walking the ramp in a pink sari at a fashion show to support the cause for cancer and AIDS patients. She was escorted by her relative, actor Ranbir Kapoor.


title: Sadhana Shivdasani

text: During her later years, Sadhana was involved in court cases and suffered from illness. She had undergone an emergency surgery due to a bleeding oral lesion in December 2014 at the K J Somaiya Medical College.


title: Sadhana Shivdasani

text: Sadhana died on 25 December 2015 in Hinduja Hospital, Mumbai after being hospitalised with high fever. Although the illness she briefly suffered from was officially undisclosed, Sadhana was cremated at Oshiwara crematorium in Mumbai, Maharashtra. Bollywood stars such Anushka Sharma, Karan Johar, Madhur Bhandarkar, Lata Mangeshkar and several others expressed their sorrow at the loss.


title: 1996 Cricket World Cup

text: The 1996 Cricket World Cup, also called the Wills World Cup 1996 after the Wills Navy Cut brand produced by tournament sponsor ITC, was the sixth Cricket World Cup organised by the International Cricket Council (ICC). It was the second World Cup to be hosted by Pakistan and India, and for the first time by Sri Lanka. The tournament was won by Sri Lanka, who defeated Australia by seven wickets in the final on 17 March 1996 at the Gaddafi Stadium in Lahore, Pakistan.


title: 1996 Cricket World Cup

text: The World Cup was played in India, Pakistan and Sri Lanka. India hosted 17 matches at 17 different venues, while Pakistan hosted 16 matches at 6 venues and Sri Lanka hosted 4 matches at 3 venues.


title: 1996 Cricket World Cup

text: Controversy dogged the tournament before any games were played; Australia and the West Indies refused to send their teams to Sri Lanka following the bombing of Central Bank in Colombo by the Tamil Tigers in January 1996. Sri Lanka, in addition to offering maximum security to the teams, questioned the validity of citing security concerns when the International Cricket Council had determined it was safe. After extensive negotiations, the ICC ruled that Sri Lanka would be awarded both games on forfeit. As a result of this decision, Sri Lanka automatically qualified for the quarter-finals before playing a game.


title: 1996 Cricket World Cup

text: All the Test-playing nations participated in the competition, including Zimbabwe, who became the ninth Test-status member of the ICC following the last World Cup. The three Associate teams (previously one) to qualify through the 1994 ICC Trophy – the United Arab Emirates, Kenya and the Netherlands – also made their World Cup debuts in 1996. The Netherlands lost all of their five matches, including a defeat to the UAE, while Kenya recorded a surprise victory over the West Indies in Pune.


title: 1996 Cricket World Cup

text: The Sri Lankans, coached by Dav Whatmore and captained by Arjuna Ranatunga, used Man of the Series Sanath Jayasuriya and Romesh Kaluwitharana as opening batsmen to take advantage of the fielding restrictions during the first 15 overs of each innings. At a time when 50 or 60 runs in the first 15 overs was considered adequate, Sri Lanka scored 117 runs in those overs against India, 123 against Kenya, 121 against England in the quarter-final and 86 against India in the semi-final. Against Kenya, Sri Lanka made 398 for 5, a new record for the highest team score in a One Day International that stood until April 2006. Gary Kirsten scored 188 not out against United Arab Emirates at Rawalpindi, Pakistan. This became the highest individual score ever in any World Cup match until it was surpassed by first Chris Gayle of the West Indies and later Martin Guptill who scored 215 and 237 respectively in the 2015 Cricket World Cup.


title: 1996 Cricket World Cup

text: Sri Lanka won the first semi-final over India at Eden Gardens in Calcutta, in front of a crowd unofficially estimated at 110,000. After they had lost both openers cheaply, Sri Lanka launched a stunning counter-attack led by Aravinda de Silva to post a strong total of 251 for 8, in the chase India began promisingly but after the loss of Sachin Tendulkar's prized wicket they had slumped to 120 for 8 in the 35th over when sections of the crowd began to throw fruit and plastic bottles onto the field. The players left the field for 20 minutes in an attempt to quieten the crowd. When the players returned for play, more bottles were thrown onto the field and fires were lit in the stand. Match referee Clive Lloyd awarded the match to Sri Lanka, the first default ever in a Test or One Day International.


title: 1996 Cricket World Cup

text: In the second semi-final in Mohali, Australia recovered from 15 for 4 to reach 207 for 8 from their 50 overs. The West Indians had reached 165 for 2 in the 42nd over before losing their last 8 wickets for 37 runs in 50 balls.


title: 1996 Cricket World Cup

text: Sri Lanka won the toss in the final and sent Australia in to bat despite the team batting first having won all five previous World Cup finals. Mark Taylor top scored with 74 in Australia's total of 241 for 7. Sri Lanka won the match in the 47th over with Aravinda de Silva following his 3 for 42 with an unbeaten 107 to win the Player of the Match award. It was the first time a tournament host or co-host had won the cricket World Cup.


title: 1996 Cricket World Cup

text: Sri Lanka won the toss and chose to field. Mark Taylor (74 from 83 balls, 8 fours, 1 six) and Ricky Ponting (45 from 73 balls, 2 fours) shared a second-wicket partnership of 101 runs. When Ponting and Taylor were dismissed, however, Australia fell from 137/1 to 170/5 as the famed four-pronged spin attack of Sri Lanka took its toll. Despite the slump, Australia struggled on to 241/7 from their 50 overs.


title: Renaissance architecture

text: Renaissance architecture is the European architecture of the period between the early 15th and early 16th centuries in different regions, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture. Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture. Developed first in Florence, with Filippo Brunelleschi as one of its innovators, the Renaissance style quickly spread to other Italian cities. The style was carried to Spain, France, Germany, England, Russia and other parts of Europe at different dates and with varying degrees of impact.


title: Renaissance architecture

text: Renaissance style places emphasis on symmetry, proportion, geometry and the regularity of parts, as demonstrated in the architecture of classical antiquity and in particular ancient Roman architecture, of which many examples remained. Orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular arches, hemispherical domes, niches and aediculae replaced the more complex proportional systems and irregular profiles of medieval buildings.


title: Renaissance architecture

text: The word "Renaissance" derives from the term "rinascita", which means rebirth, first appeared in Giorgio Vasari's "Le vite de' più eccellenti pittori, scultori e architettori" ("Lives of the Most Excellent Painters, Sculptors, and Architects", 1550).


title: Renaissance architecture

text: Although the term Renaissance was used first by the French historian Jules Michelet, it was given its more lasting definition from the Swiss historian Jacob Burckhardt, whose book "Die Kultur der Renaissance in Italien", 1860 (The Civilization of the Renaissance in Italy, 1860, English translation, by SGC Middlemore, in 2 vols., London, 1878) was influential in the development of the modern interpretation of the Italian Renaissance. The folio of measured drawings "Édifices de Rome moderne; ou, Recueil des palais, maisons, églises, couvents et autres monuments" (The Buildings of Modern Rome), first published in 1840 by Paul Letarouilly, also played an important part in the revival of interest in this period. Erwin Panofsky, "Renaissance and Renascences in Western Art", (New York: Harper and Row, 1960) The Renaissance style was recognized by contemporaries in the term ""all'antica"", or "in the ancient manner" (of the Romans).


title: Renaissance architecture

text: Historians often divide the Renaissance in Italy into three phases. Whereas art historians might talk of an "Early Renaissance" period, in which they include developments in 14th-century painting and sculpture, this is usually not the case in architectural history. The bleak economic conditions of the late 14th century did not produce buildings that are considered to be part of the Renaissance. As a result, the word "Renaissance" among architectural historians usually applies to the period 1400 to , or later in the case of non-Italian Renaissances.


title: Renaissance architecture

text: During the "Quattrocento," sometimes known as the Early Renaissance, concepts of architectural order were explored and rules were formulated. The study of classical antiquity led in particular to the adoption of Classical detail and ornamentation. Space, as an element of architecture, was used differently than it was in the Middle Ages. Space was organised by proportional logic, its form and rhythm subject to geometry, rather than being created by intuition as in Medieval buildings. The prime example of this is the Basilica di San Lorenzo in Florence by Filippo Brunelleschi (1377–1446).


title: Renaissance architecture

text: During the High Renaissance, concepts derived from classical antiquity were developed and used with greater confidence. The most representative architect is Donato Bramante (1444–1514), who expanded the applicability of classical architecture to contemporary buildings. His Tempietto di San Pietro in Montorio (1503) was directly inspired by circular Roman temples. He was, however, hardly a slave to the classical forms and it was his style that was to dominate Italian architecture in the 16th century.


title: Renaissance architecture

text: During the Mannerist period, architects experimented with using architectural forms to emphasize solid and spatial relationships. The Renaissance ideal of harmony gave way to freer and more imaginative rhythms. The best known architect associated with the Mannerist style was Michelangelo (1475–1564), who frequently used the giant order in his architecture, a large pilaster that stretches from the bottom to the top of a façade. He used this in his design for the Piazza del Campidoglio in Rome. Prior to the 20th century, the term "Mannerism" had negative connotations, but it is now used to describe the historical period in more general non-judgemental terms.


title: Renaissance architecture

text: As the new style of architecture spread out from Italy, most other European countries developed a sort of Proto-Renaissance style, before the construction of fully formulated Renaissance buildings. Each country in turn then grafted its own architectural traditions to the new style, so that Renaissance buildings across Europe are diversified by region. Within Italy the evolution of Renaissance architecture into Mannerism, with widely diverging tendencies in the work of Michelangelo and Giulio Romano and Andrea Palladio, led to the Baroque style in which the same architectural vocabulary was used for very different rhetoric. Outside Italy, Baroque architecture was more widespread and fully developed than the Renaissance style, with significant buildings as far afield as Mexico and the Philippines.


title: Renaissance architecture

text: in particular, was home to the Renaissance. It is in Florence that the new architectural style had its beginning, not slowly evolving in the way that Gothic grew out of Romanesque, but consciously brought to being by particular architects who sought to revive the order of a past "Golden Age". The scholarly approach to the architecture of the ancient coincided with the general revival of learning. A number of factors were influential in bringing this about.


title: Renaissance architecture

text: Italian architects had always preferred forms that were clearly defined and structural members that expressed their purpose. Many Tuscan Romanesque buildings demonstrate these characteristics, as seen in the Florence Baptistery and Pisa Cathedral.


title: Renaissance architecture

text: Italy had never fully adopted the Gothic style of architecture. Apart from Milan Cathedral, (influenced by French Rayonnant Gothic), few Italian churches show the emphasis on vertical, the clustered shafts, ornate tracery and complex ribbed vaulting that characterise Gothic in other parts of Europe.


title: Renaissance architecture

text: The presence, particularly in Rome, of ancient architectural remains showing the ordered Classical style provided an inspiration to artists at a time when philosophy was also turning towards the Classical.


title: Renaissance architecture

text: In the 15th century, Florence, Venice and Naples extended their power through much of the area that surrounded them, making the movement of artists possible. This enabled Florence to have significant artistic influence in Milan, and through Milan, France.


title: Renaissance architecture

text: In 1377, the return of the Pope from the Avignon Papacy and the re-establishment of the Papal court in Rome, brought wealth and importance to that city, as well as a renewal in the importance of the Pope in Italy, which was further strengthened by the Council of Constance in 1417. Successive Popes, especially Julius II, 1503–13, sought to extend the Pope’s temporal power throughout Italy.


title: Renaissance architecture

text: In the early Renaissance, Venice controlled sea trade over goods from the East. The large towns of Northern Italy were prosperous through trade with the rest of Europe, Genoa providing a seaport for the goods of France and Spain; Milan and Turin being centres of overland trade, and maintaining substantial metalworking industries. Trade brought wool from England to Florence, ideally located on the river for the production of fine cloth, the industry on which its wealth was founded. By dominating Pisa, Florence gained a seaport, and also maintained dominance of Genoa. In this commercial climate, one family in particular turned their attention from trade to the lucrative business of money-lending. The Medici became the chief bankers to the princes of Europe, becoming virtually princes themselves as they did so, by reason of both wealth and influence.


title: Renaissance architecture

text: Along the trade routes, and thus offered some protection by commercial interest, moved not only goods but also artists, scientists and philosophers.


title: Renaissance architecture

text: The return of the Pope Gregory XI from Avignon in September 1377 and the resultant new emphasis on Rome as the center of Christian spirituality, brought about a surge in the building of churches in Rome such as had not taken place for nearly a thousand years. This commenced in the mid 15th century and gained momentum in the 16th century, reaching its peak in the Baroque period. The construction of the Sistine Chapel with its uniquely important decorations and the entire rebuilding of St. Peter's Basilica, one of Christendom's most significant churches, were part of this process.


title: Renaissance architecture

text: In the wealthy Republic of Florence, the impetus for church-building was more civic than spiritual. The unfinished state of the enormous Florence Cathedral dedicated to the Blessed Virgin Mary did no honour to the city under her patronage. However, as the technology and finance were found to complete it, the rising dome did credit not only to the Virgin Mary, its architect and the Church but also to the Signoria, the Guilds and the sectors of the city from which the manpower to construct it was drawn. The dome inspired further religious works in Florence.


title: Renaissance architecture

text: The development of printed books, the rediscovery of ancient writings, the expanding of political and trade contacts and the exploration of the world all increased knowledge and the desire for education.


title: Renaissance architecture

text: The reading of philosophies that were not based on Christian theology led to the development of humanism through which it was clear that while God had established and maintained order in the Universe, it was the role of Man to establish and maintain order in Society.


title: Renaissance architecture

text: Through humanism, civic pride and the promotion of civil peace and order were seen as the marks of citizenship. This led to the building of structures such as Brunelleschi's Hospital of the Innocents with its elegant colonnade forming a link between the charitable building and the public square, and the Laurentian Library where the collection of books established by the Medici family could be consulted by scholars.


title: Renaissance architecture

text: Some major ecclesiastical building works were also commissioned, not by the church, but by guilds representing the wealth and power of the city. Brunelleschi’s dome at Florence Cathedral, more than any other building, belonged to the populace because the construction of each of the eight segments was achieved by a different quarter of the city.


title: Renaissance architecture

text: As in the Platonic academy of Athens, it was seen by those of Humanist understanding that those people who had the benefit of wealth and education ought to promote the pursuit of learning and the creation of that which was beautiful. To this end, wealthy families—the Medici of Florence, the Gonzaga of Mantua, the Farnese in Rome, the Sforzas in Milan—gathered around them people of learning and ability, promoting the skills and creating employment for the most talented artists and architects of their day.


title: Renaissance architecture

text: During the Renaissance, architecture became not only a question of practice, but also a matter for theoretical discussion. Printing played a large role in the dissemination of ideas.


title: Renaissance architecture

text: In the 15th century the courts of certain other Italian states became centres for spreading of Renaissance philosophy, art and architecture.


title: Renaissance architecture

text: In Mantua at the court of the Gonzaga, Alberti designed two churches, the Basilica of Sant'Andrea and San Sebastiano.


title: Renaissance architecture

text: Urbino was an important centre with the ancient Ducal Palace being extended for Federico da Montefeltro in the mid 15th century. The Duke employed Luciano Laurana from Dalmatia, renowned for his expertise at fortification. The design incorporates much of the earlier medieval building and includes an unusual turreted three-storeyed façade. Laurana was assisted by Francesco di Giorgio Martini. Later parts of the building are clearly Florentine in style, particularly the inner courtyard, but it is not known who the designer was.


title: Renaissance architecture

text: Ferrara, under the Este, was expanded in the late 15th century, with several new palaces being built such as the Palazzo dei Diamanti and Palazzo Schifanoia for Borso d'Este.


title: Renaissance architecture

text: In Milan, under the Visconti, the Certosa di Pavia was completed, and then later under the Sforza, the Castello Sforzesco was built.


title: Renaissance architecture

text: Venetian Renaissance architecture developed a particularly distinctive character because of local conditions. San Zaccaria received its Renaissance façade at the hands of Antonio Gambello and Mauro Codussi, begun in the 1480s. Giovanni Maria Falconetto, the Veronese architect-sculptor, introduced Renaissance architecture to Padua with the Loggia Cornaro in the garden of Alvise Cornaro.


title: Renaissance architecture

text: In southern Italy, Renaissance masters were called to Naples by Alfonso V of Aragon after his conquest of the Kingdom of Naples. The most notable examples of Renaissance architecture in that city are the Cappella Caracciolo, attributed to Bramante, and the Palazzo Orsini di Gravina, built by Gabriele d'Angelo between 1513 and 1549.


title: Renaissance architecture

text: The Classical orders were analysed and reconstructed to serve new purposes. While the obvious distinguishing features of Classical Roman architecture were adopted by Renaissance architects, the forms and purposes of buildings had changed over time, as had the structure of cities. Among the earliest buildings of the reborn Classicism were the type of churches that the Romans had never constructed. Neither were there models for the type of large city dwellings required by wealthy merchants of the 15th century. Conversely, there was no call for enormous sporting fixtures and public bath houses such as the Romans had built.


title: Renaissance architecture

text: The plans of Renaissance buildings have a square, symmetrical appearance in which proportions are usually based on a module. Within a church, the module is often the width of an aisle. The need to integrate the design of the plan with the façade was introduced as an issue in the work of Filippo Brunelleschi, but he was never able to carry this aspect of his work into fruition. The first building to demonstrate this was St. Andrea in Mantua by Alberti. The development of the plan in secular architecture was to take place in the 16th century and culminated with the work of Palladio.


title: Renaissance architecture

text: Façades are symmetrical around their vertical axis. Church façades are generally surmounted by a pediment and organised by a system of pilasters, arches and entablatures. The columns and windows show a progression towards the centre. One of the first true Renaissance façades was the Cathedral of Pienza (1459–62), which has been attributed to the Florentine architect Bernardo Gambarelli (known as Rossellino) with Alberti perhaps having some responsibility in its design as well.


title: Renaissance architecture

text: Domestic buildings are often surmounted by a cornice. There is a regular repetition of openings on each floor, and the centrally placed door is marked by a feature such as a balcony, or rusticated surround. An early and much copied prototype was the façade for the Palazzo Rucellai (1446 and 1451) in Florence with its three registers of pilasters.


title: Renaissance architecture

text: Roman and Greek orders of columns are used: Tuscan, Doric, Ionic, Corinthian and Composite. The orders can either be structural, supporting an arcade or architrave, or purely decorative, set against a wall in the form of pilasters. During the Renaissance, architects aimed to use columns, pilasters, and entablatures as an integrated system. One of the first buildings to use pilasters as an integrated system was in the Old Sacristy (1421–1440) by Brunelleschi.


title: Renaissance architecture

text: Arches are semi-circular or (in the Mannerist style) segmental. Arches are often used in arcades, supported on piers or columns with capitals. There may be a section of entablature between the capital and the springing of the arch. Alberti was one of the first to use the arch on a monumental scale at the St. Andrea in Mantua.


title: Renaissance architecture

text: Vaults do not have ribs. They are semi-circular or segmental and on a square plan, unlike the Gothic vault which is frequently rectangular. The barrel vault is returned to architectural vocabulary as at the St. Andrea in Mantua.


title: Renaissance architecture

text: The dome is used frequently, both as a very large structural feature that is visible from the exterior, and also as a means of roofing smaller spaces where they are only visible internally. After the success of the dome in Brunelleschi's design for the Basilica di Santa Maria del Fiore and its use in Bramante's plan for St. Peter's Basilica (1506) in Rome, the dome became an indispensable element in church architecture and later even for secular architecture, such as Palladio's Villa Rotonda.


title: Renaissance architecture

text: Roofs are fitted with flat or coffered ceilings. They are not left open as in Medieval architecture. They are frequently painted or decorated.


title: Renaissance architecture

text: Doors usually have square lintels. They may be set with in an arch or surmounted by a triangular or segmental pediment.


title: Renaissance architecture

text: Openings that do not have doors are usually arched and frequently have a large or decorative keystone.


title: Renaissance architecture

text: Windows may be paired and set within a semi-circular arch. They may have square lintels and triangular or segmental pediments, which are often used alternately. Emblematic in this respect is the Palazzo Farnese in Rome, begun in 1517.


title: Renaissance architecture

text: In the Mannerist period the Palladian arch was employed, using a motif of a high semi-circular topped opening flanked with two lower square-topped openings. Windows are used to bring light into the building and in domestic architecture, to give views. Stained glass, although sometimes present, is not a feature.


title: Renaissance architecture

text: External walls are generally constructed of brick, rendered, or faced with stone in highly finished ashlar masonry, laid in straight courses. The corners of buildings are often emphasized by rusticated quoins. Basements and ground floors were often rusticated, as at the Palazzo Medici Riccardi (1444–1460) in Florence. Internal walls are smoothly plastered and surfaced with lime wash. For more formal spaces, internal surfaces are decorated with frescoes.


title: Renaissance architecture

text: Courses, mouldings and all decorative details are carved with great precision. Studying and mastering the details of the ancient Romans was one of the important aspects of Renaissance theory. The different orders each required different sets of details. Some architects were stricter in their use of classical details than others, but there was also a good deal of innovation in solving problems, especially at corners. Mouldings stand out around doors and windows rather than being recessed, as in Gothic architecture. Sculptured figures may be set in niches or placed on plinths. They are not integral to the building as in Medieval architecture.


title: Renaissance architecture

text: The leading architects of the Early Renaissance or Quattrocento were Brunelleschi, Michelozzo and Alberti.


title: Renaissance architecture

text: The person generally credited with bringing about the Renaissance view of architecture is Filippo Brunelleschi, (1377–1446). The underlying feature of the work of Brunelleschi was "order".


title: Renaissance architecture

text: In the early 15th century, Brunelleschi began to look at the world to see what the rules were that governed one's way of seeing. He observed that the way one sees regular structures such as the Florence Baptistery and the tiled pavement surrounding it follows a mathematical order – linear perspective.


title: Renaissance architecture

text: The buildings remaining among the ruins of ancient Rome appeared to respect a simple mathematical order in the way that Gothic buildings did not. One incontrovertible rule governed all Ancient Roman architecture – a semi-circular arch is exactly twice as wide as it is high. A fixed proportion with implications of such magnitude occurred nowhere in Gothic architecture. A Gothic pointed arch could be extended upwards or flattened to any proportion that suited the location. Arches of differing angles frequently occurred within the same structure. No set rules of proportion applied.


title: Renaissance architecture

text: From the observation of the architecture of Rome came a desire for symmetry and careful proportion in which the form and composition of the building as a whole and all its subsidiary details have fixed relationships, each section in proportion to the next, and the architectural features serving to define exactly what those rules of proportion are. Brunelleschi gained the support of a number of wealthy Florentine patrons, including the Silk Guild and Cosimo de' Medici.


title: Renaissance architecture

text: Brunelleschi's first major architectural commission was for the enormous brick dome which covers the central space of Florence's cathedral, designed by Arnolfo di Cambio in the 14th century but left unroofed. While often described as the first building of the Renaissance, Brunelleschi's daring design utilises the pointed Gothic arch and Gothic ribs that were apparently planned by Arnolfo. It seems certain, however, that while stylistically Gothic, in keeping with the building it surmounts, the dome is in fact structurally influenced by the great dome of Ancient Rome, which Brunelleschi could hardly have ignored in seeking a solution. This is the dome of the Pantheon, a circular temple, now a church.


title: Renaissance architecture

text: Inside the Pantheon's single-shell concrete dome is coffering which greatly decreases the weight. The vertical partitions of the coffering effectively serve as ribs, although this feature does not dominate visually. At the apex of the Pantheon's dome is an opening, 8 meters across. Brunelleschi was aware that a dome of enormous proportion could in fact be engineered without a keystone. The dome in Florence is supported by the eight large ribs and sixteen more internal ones holding a brick shell, with the bricks arranged in a herringbone manner. Although the techniques employed are different, in practice, both domes comprise a thick network of ribs supporting very much lighter and thinner infilling. And both have a large opening at the top.


title: Renaissance architecture

text: The new architectural philosophy of the Renaissance is best demonstrated in the churches of San Lorenzo, and Santo Spirito in Florence. Designed by Brunelleschi in about 1425 and 1428 respectively, both have the shape of the Latin cross. Each has a modular plan, each portion being a multiple of the square bay of the aisle. This same formula controlled also the vertical dimensions. In the case of Santo Spirito, which is entirely regular in plan, transepts and chancel are identical, while the nave is an extended version of these. In 1434 Brunelleschi designed the first Renaissance centrally planned building, Santa Maria degli Angeli of Florence. It is composed of a central octagon surrounded by a circuit of eight smaller chapels. From this date onwards numerous churches were built in variations of these designs.


title: Renaissance architecture

text: Michelozzo Michelozzi (1396–1472), was another architect under patronage of the Medici family, his most famous work being the Palazzo Medici Riccardi, which he was commissioned to design for Cosimo de' Medici in 1444. A decade later he built the Villa Medici at Fiesole. Among his other works for Cosimo are the library at the Convent of San Marco, Florence. He went into exile in Venice for a time with his patron. He was one of the first architects to work in the Renaissance style outside Italy, building a palace at Dubrovnik.


title: Renaissance architecture

text: The Palazzo Medici Riccardi is Classical in the details of its pedimented windows and recessed doors, but, unlike the works of Brunelleschi and Alberti, there are no classical orders of columns in evidence. Instead, Michelozzo has respected the Florentine liking for rusticated stone. He has seemingly created three orders out of the three defined rusticated levels, the whole being surmounted by an enormous Roman-style cornice which juts out over the street by 2.5 meters.


title: Renaissance architecture

text: Leon Battista Alberti, born in Genoa (1402–1472), was an important Humanist theoretician and designer whose book on architecture "De re Aedificatoria" was to have lasting effect. An aspect of Renaissance humanism was an emphasis of the anatomy of nature, in particular the human form, a science first studied by the Ancient Greeks. Humanism made man the measure of things. Alberti perceived the architect as a person with great social responsibilities.


title: Renaissance architecture

text: He designed a number of buildings, but unlike Brunelleschi, he did not see himself as a builder in a practical sense and so left the supervision of the work to others. Miraculously, one of his greatest designs, that of the Basilica of Sant'Andrea in Mantua, was brought to completion with its character essentially intact. Not so the Church of San Francesco in Rimini, a rebuilding of a Gothic structure, which, like Sant'Andrea, was to have a façade reminiscent of a Roman triumphal arch. This was left sadly incomplete.


title: Renaissance architecture

text: Sant'Andrea is an extremely dynamic building both without and within. Its triumphal façade is marked by extreme contrasts. The projection of the order of pilasters that define the architectural elements, but are essentially non-functional, is very shallow. This contrasts with the gaping deeply recessed arch which makes a huge portico before the main door. The size of this arch is in direct contrast to the two low square-topped openings that frame it. The light and shade play dramatically over the surface of the building because of the shallowness of its mouldings and the depth of its porch. In the interior Alberti has dispensed with the traditional nave and aisles. Instead there is a slow and majestic progression of alternating tall arches and low square doorways, repeating the "triumphal arch" motif of the façade.


title: Renaissance architecture

text: Two of Alberti’s best known buildings are in Florence, the Palazzo Rucellai and at Santa Maria Novella. For the palace, Alberti applied the classical orders of columns to the façade on the three levels, 1446–51. At Santa Maria Novella he was commissioned to finish the decoration of the façade. He completed the design in 1456 but the work was not finished until 1470.


title: Renaissance architecture

text: The lower section of the building had Gothic niches and typical polychrome marble decoration. There was a large ocular window in the end of the nave which had to be taken into account. Alberti simply respected what was already in place, and the Florentine tradition for polychrome that was well established at the Baptistery of San Giovanni, the most revered building in the city. The decoration, being mainly polychrome marble, is mostly very flat in nature, but a sort of order is established by the regular compartments and the circular motifs which repeat the shape of the round window. For the first time, Alberti linked the lower roofs of the aisles to nave using two large scrolls. These were to become a standard Renaissance device for solving the problem of different roof heights and bridge the space between horizontal and vertical surfaces.


title: Renaissance architecture

text: In the late 15th century and early 16th century, architects such as Bramante, Antonio da Sangallo the Younger and others showed a mastery of the revived style and ability to apply it to buildings such as churches and city palazzo which were quite different from the structures of ancient times. The style became more decorated and ornamental, statuary, domes and cupolas becoming very evident.


title: Renaissance architecture

text: The architectural period is known as the "High Renaissance" and coincides with the age of Leonardo, Michelangelo and Raphael.


title: Renaissance architecture

text: Donato Bramante, (1444–1514), was born in Urbino and turned from painting to architecture, finding his first important patronage under Ludovico Sforza, Duke of Milan, for whom he produced a number of buildings over 20 years. After the fall of Milan to the French in 1499, Bramante travelled to Rome where he achieved great success under papal patronage.


title: Renaissance architecture

text: Bramante’s finest architectural achievement in Milan is his addition of crossing and choir to the abbey church of Santa Maria delle Grazie (Milan). This is a brick structure, the form of which owes much to the Northern Italian tradition of square domed baptisteries. The new building is almost centrally planned, except that, because of the site, the chancel extends further than the transept arms. The hemispherical dome, of approximately 20 metres across, rises up hidden inside an octagonal drum pierced at the upper level with arched classical openings. The whole exterior has delineated details decorated with the local terracotta ornamentation.


title: Renaissance architecture

text: From 1488 to 1492 he worked for Ascanio Sforza on the cathedral of Pavia, on which he imposed a central plan scheme and built some apses and the crypt, inspired by the thermal baths of the Roman age.


title: Renaissance architecture

text: In Rome Bramante created what has been described as "a perfect architectural gem", the Tempietto in the Cloister of San Pietro in Montorio. This small circular temple marks the spot where St Peter was martyred and is thus the most sacred site in Rome. The building adapts the style apparent in the remains of the Temple of Vesta, the most sacred site of Ancient Rome. It is enclosed by and in spatial contrast with the cloister which surrounds it. As approached from the cloister, as in the , it is seen framed by an arch and columns, the shape of which are echoed in its free-standing form.


title: Renaissance architecture

text: Bramante went on to work at the Vatican, where he designed the Cortile del Belvedere. In 1506 his design for Pope Julius II’s rebuilding of St. Peter’s Basilica was selected, and the foundation stone laid. After Bramante’s death and many changes of plan, Michelangelo, as chief architect, reverted to something closer to Bramante’s original proposal.


title: Renaissance architecture

text: Antonio da Sangallo the Younger (1485–1546) was one of a family of military engineers. His uncle, Giuliano da Sangallo was one of those who submitted a plan for the rebuilding of St Peter’s and was briefly a co-director of the project, with Raphael.


title: Renaissance architecture

text: Antonio da Sangallo also submitted a plan for St Peter’s and became the chief architect after the death of Raphael, to be succeeded himself by Michelangelo.


title: Renaissance architecture

text: His fame does not rest upon his association with St Peter’s but in his building of the Farnese Palace, “the grandest palace of this period”, started in 1530. The impression of grandness lies in part in its sheer size, (56 m long by 29.5 meters high) and in its lofty location overlooking a broad piazza. Unusually for such a large and luxurious house of the time, it was built principally of stuccoed brick, rather than of stone. Against the smooth pink-washed walls the stone quoins of the corners, the massive rusticated portal and the repetition of finely detailed windows produce an elegant effect. The upper of the three equally sized floors was added by Michelangelo. The travertine for its architectural details came not from a quarry, but from the Colosseum.


title: Renaissance architecture

text: Raphael (1483–1520), born in Urbino, trained under Perugino in Perugia before moving to Florence, was for a time the chief architect for St. Peter’s, working in conjunction with Antonio Sangallo. He also designed a number of buildings, most of which were finished by others. His single most influential work is the Palazzo Pandolfini in Florence with its two stories of strongly articulated windows of a "tabernacle" type, each set around with ordered pilasters, cornice and alternate arched and triangular pediments.


title: Renaissance architecture

text: Mannerism in architecture was marked by widely diverging tendencies in the work of Michelangelo, Giulio Romano, Baldassare Peruzzi and Andrea Palladio, that led to the Baroque style in which the same architectural vocabulary was used for very different rhetoric.


title: Renaissance architecture

text: Baldassare Peruzzi, (1481–1536), was an architect born in Siena, but working in Rome, whose work bridges the High Renaissance and the Mannerist period.


title: Renaissance architecture

text: His Villa Farnesina of 1509 is a very regular monumental cube of two equal stories, the bays being strongly articulated by orders of pilasters. The building is unusual for its frescoed walls.


title: Renaissance architecture

text: Peruzzi’s most famous work is the Palazzo Massimo alle Colonne in Rome. The unusual features of this building are that its façade curves gently around a curving street. It has in its ground floor a dark central portico running parallel to the street, but as a semi enclosed space, rather than an open loggia. Above this rise three undifferentiated floors, the upper two with identical small horizontal windows in thin flat frames which contrast strangely with the deep porch, which has served, from the time of its construction, as a refuge to the city’s poor.


title: Renaissance architecture

text: Giulio Romano (1499–1546), was a pupil of Raphael, assisting him on various works for the Vatican. Romano was also a highly inventive designer, working for Federico II Gonzaga at Mantua on the Palazzo Te (1524–1534), a project which combined his skills as architect, sculptor and painter. In this work, incorporating garden grottoes and extensive frescoes, he uses illusionistic effects, surprising combinations of architectural form and texture, and the frequent use of features that seem somewhat disproportionate or out of alignment. The total effect is eerie and disturbing. Ilan Rachum cites Romano as "“one of the first promoters of Mannerism”".


title: Renaissance architecture

text: Michelangelo Buonarroti (1475–1564) was one of the creative giants whose achievements mark the High Renaissance. He excelled in each of the fields of painting, sculpture and architecture, and his achievements brought about significant changes in each area. His architectural fame lies chiefly in two buildings: the interiors of the Laurentian Library and its lobby at the monastery of San Lorenzo in Florence, and St Peter's Basilica in Rome.


title: Renaissance architecture

text: St. Peter's was "the greatest creation of the Renaissance", and a great number of architects contributed their skills to it. But at its completion, there was more of Michelangelo’s design than of any other architect, before or after him.


title: Renaissance architecture

text: The plan that was accepted at the laying of the foundation stone in 1506 was that by Bramante. Various changes in plan occurred in the series of architects that succeeded him, but Michelangelo, when he took over the project in 1546, reverted to Bramante’s Greek-cross plan and redesigned the piers, the walls and the dome, giving the lower weight-bearing members massive proportions and eliminating the encircling aisles from the chancel and identical transept arms. Helen Gardner says: "Michelangelo, with a few strokes of the pen, converted its snowflake complexity into a massive, cohesive unity."


title: Renaissance architecture

text: Michelangelo’s dome was a masterpiece of design using two masonry shells, one within the other and crowned by a massive roof lantern supported, as at Florence, on ribs. For the exterior of the building he designed a giant order which defines every external bay, the whole lot being held together by a wide cornice which runs unbroken like a rippling ribbon around the entire building.


title: Renaissance architecture

text: There is a wooden model of the dome, showing its outer shell as hemispherical. When Michelangelo died in 1564, the building had reached the height of the drum. The architect who succeeded Michelangelo was Giacomo della Porta. The dome, as built, has a much steeper projection than the dome of the model. It is generally presumed that it was della Porta who made this change to the design, to lessen the outward thrust. But, in fact it is unknown who it was that made this change, and it is equally possible and a stylistic likelihood that the person who decided upon the more dynamic outline was Michelangelo himself at some time during the years that he supervised the project.


title: Renaissance architecture

text: Michelangelo was at his most Mannerist in the design of the vestibule of the Laurentian Library, also built by him to house the Medici collection of books at the convent of San Lorenzo in Florence, the same San Lorenzo’s at which Brunelleschi had recast church architecture into a Classical mold and established clear formula for the use of Classical orders and their various components.


title: Renaissance architecture

text: Michelangelo takes all Brunelleschi’s components and bends them to his will. The Library is upstairs. It is a long low building with an ornate wooden ceiling, a matching floor and crowded with corrals finished by his successors to Michelangelo’s design. But it is a light room, the natural lighting streaming through a long row of windows that appear positively crammed between the order of pilasters that march along the wall. The vestibule, on the other hand, is tall, taller than it is wide and is crowded by a large staircase that pours out of the library in what Nikolaus Pevsner refers to as a “flow of lava”, and bursts in three directions when it meets the balustrade of the landing. It is an intimidating staircase, made all the more so because the rise of the stairs at the center is steeper than at the two sides, fitting only eight steps into the space of nine.


title: Renaissance architecture

text: The space is crowded and it is to be expected that the wall spaces would be divided by pilasters of low projection. But Michelangelo has chosen to use paired columns, which, instead of standing out boldly from the wall, he has sunk deep into recesses within the wall itself. In the Basilica di San Lorenzo nearby, Brunelleschi used little scrolling console brackets to break the strongly horizontal line of the course above the arcade. Michelangelo has borrowed Brunelleschi’s motifs and stood each pair of sunken columns on a pair of twin console brackets. Pevsner says the "Laurenziana [...] reveals Mannerism in its most sublime architectural form".


title: Renaissance architecture

text: Giacomo della Porta, (c.1533–1602), was famous as the architect who made the dome of St. Peter's Basilica a reality. The change in outline between the dome as it appears in the model and the dome as it was built, has brought about speculation as to whether the changes originated with della Porta or with Michelangelo himself.


title: Renaissance architecture

text: Della Porta spent nearly all his working life in Rome, designing villas, palazzi and churches in the Mannerist style. One of his most famous works is the façade of the Church of the Gesù, a project that he inherited from his teacher Jacopo Barozzi da Vignola. Most characteristics of the original design are maintained, subtly transformed to give more weight to the central section, where della Porta uses, among other motifs, a low triangular pediment overlaid on a segmental one above the main door. The upper storey and its pediment give the impression of compressing the lower one. The center section, like that of Sant'Andrea at Mantua, is based on the triumphal arch, but has two clear horizontal divisions like Santa Maria Novella. The problem of linking the aisles to the nave is solved using Alberti’s scrolls, in contrast to Vignola’s solution which provided much smaller brackets and four statues to stand above the paired pilasters, visually weighing down the corners of the building. The influence of the design may be seen in Baroque churches throughout Europe.


title: Renaissance architecture

text: Andrea Palladio, (1508–80), "the most influential architect of the whole Renaissance", was, as a stonemason, introduced to Humanism by the poet Giangiorgio Trissino. His first major architectural commission was the rebuilding of the Basilica Palladiana at Vicenza, in the Veneto where he was to work most of his life.


title: Renaissance architecture

text: Palladio was to transform the architectural style of both palaces and churches by taking a different perspective on the notion of Classicism. While the architects of Florence and Rome looked to structures like the Colosseum and the Arch of Constantine to provide formulae, Palladio looked to classical temples with their simple peristyle form. When he used the triumphal arch motif of a large arched opening with lower square-topped opening on either side, he invariably applied it on a small scale, such as windows, rather than on a large scale as Alberti used it at Sant’Andrea’s. This Ancient Roman motif is often referred to as the Palladian Arch.


title: Renaissance architecture

text: The best known of Palladio’s domestic buildings is Villa Capra, otherwise known as "La Rotonda", a centrally planned house with a domed central hall and four identical façades, each with a temple-like portico like that of the Pantheon in Rome. At the Villa Cornaro, the projecting portico of the north façade and recessed loggia of the garden façade are of two ordered stories, the upper forming a balcony.


title: Renaissance architecture

text: Like Alberti, della Porta and others, in the designing of a church façade, Palladio was confronted by the problem of visually linking the aisles to the nave while maintaining and defining the structure of the building. Palladio’s solution was entirely different from that employed by della Porta. At the church of San Giorgio Maggiore in Venice he overlays a tall temple, its columns raised on high plinths, over another low wide temple façade, its columns rising from the basements and its narrow lintel and pilasters appearing behind the giant order of the central nave.


title: Renaissance architecture

text: In Italy, there appears to be a seamless progression from Early Renaissance architecture through the High Renaissance and Mannerism to the Baroque style. Pevsner comments about the vestibule of the Laurentian Library that it "has often been said that the motifs of the walls show Michelangelo as the father of the Baroque".


title: Renaissance architecture

text: While continuity may be the case in Italy, it was not necessarily the case elsewhere. The adoption of the Renaissance style of architecture was slower in some areas than in others, as may be seen in England, for example. Indeed, as Pope Julius II was having the Old St. Peter's Basilica demolished to make way for the new, Henry VII of England was adding a glorious new chapel in the Perpendicular Gothic style to Westminster Abbey.


title: Renaissance architecture

text: Likewise, the style that was to become known as Baroque evolved in Italy in the early 17th century, at about the time that the first fully Renaissance buildings were constructed at Greenwich and Whitehall in England, after a prolonged period of experimentation with Classical motifs applied to local architectural forms, or conversely, the adoption of Renaissance structural forms in the broadest sense with an absence of the formulae that governed their use. While the English were just discovering what the rules of Classicism were, the Italians were experimenting with methods of breaking them. In England, following the Restoration of the Monarchy in 1660, the architectural climate changed, and taste moved in the direction of the Baroque. Rather than evolving, as it did in Italy, it arrived fully fledged.


title: Renaissance architecture

text: In a similar way, in many parts of Europe that had few purely classical and ordered buildings like Brunelleschi’s Santo Spirito and Michelozzo’s Medici Riccardi Palace, Baroque architecture appeared almost unheralded, on the heels of a sort of Proto-Renaissance local style. The spread of the Baroque and its replacement of traditional and more conservative Renaissance architecture was particularly apparent in the building of churches as part of the Counter Reformation.


title: Renaissance architecture

text: The 16th century saw the economic and political ascendancy of France and Spain, and then later of England, Germany, Poland and Russia and the Low Countries. The result was that these places began to import the Renaissance style as indicators of their new cultural position. This also meant that it was not until about 1500 and later that signs of Renaissance architectural style began to appear outside Italy.


title: Renaissance architecture

text: Though Italian architects were highly sought after, such as Sebastiano Serlio in France, Aristotile Fioravanti in Russia, and Francesco Fiorentino in Poland, soon, non-Italians were studying Italian architecture and translating it into their own idiom. These included Philibert de l'Orme (1510–1570) in France, Juan Bautista de Toledo (died: 1567) in Spain, Inigo Jones (1573–1652) in England and Elias Holl (1573–1646) in Germany.


title: Renaissance architecture

text: Books or ornament prints with engraved illustrations demonstrating plans and ornament were very important in spreading Renaissance styles in Northern Europe, with among the most important authors being Androuet du Cerceau in France, and Hans Vredeman de Vries in the Netherlands, and Wendel Dietterlin, author of "Architectura" (1593–94) in Germany.


title: Renaissance architecture

text: The Renaissance arrived late in what is today Estonia, Latvia and Lithuania, the so-called Baltic States, and did not make a great imprint architecturally. It was a politically tumultuous time, marked by the decline of the State of the Teutonic Order and the Livonian War.


title: Renaissance architecture

text: In Estonia, artistic influences came from Dutch, Swedish and Polish sources. The building of the Brotherhood of the Blackheads in Tallinn with a façade designed by Arent Passer, is the only truly Renaissance building in the country that has survived more or less intact. Significantly for these troubled times, the only other examples are purely military buildings, such as the "Fat Margaret" cannon tower, also in Tallinn.


title: Renaissance architecture

text: Latvian Renaissance architecture was influenced by Polish-Lithuanian and Dutch style, with Mannerism following from Gothic without intermediaries. St. John's Church in the Latvian capital of Riga is an example of an earlier Gothic church which was reconstructed in 1587–89 by the Dutch architect Gert Freze (Joris Phraeze). The prime example of Renaissance architecture in Latvia is the heavily decorated House of the Blackheads, rebuilt from an earlier Medieval structure into its present Mannerist forms as late as 1619–25 by the architects A. and L. Jansen. It was destroyed during World War II and rebuilt during the 1990s.


title: Renaissance architecture

text: Lithuania meanwhile formed a large dual state with Poland, known as the Polish–Lithuanian Commonwealth. Renaissance influences grew stronger during the reign of the Grand Dukes of Lithuania Sigismund I the Old and Sigismund II Augustus. The Palace of the Grand Dukes of Lithuania (destroyed in 1801, a copy built in 2002–2009) show Italian influences. Several architects of Italian origin were active in the country, including Bernardino Zanobi de Gianotis, Giovanni Cini and Giovanni Maria Mosca.


title: Renaissance architecture

text: The Renaissance style first appeared in the Crown of Bohemia in the 1490s. Bohemia together with its incorporated lands, especially Moravia, thus ranked among the areas of the Holy Roman Empire with the earliest known examples of the Renaissance architecture.


title: Renaissance architecture

text: The lands of the Bohemian Crown were never part of the ancient Roman Empire, thus they missed their own ancient classical heritage and had to be dependent on the primarily Italian models. As well as in other Central European countries the Gothic style kept its position especially in the church architecture. The traditional Gothic architecture was considered timeless and therefore able to express the sacredness. The Renaissance architecture coexisted with the Gothic style in Bohemia and Moravia until the late 16th century (e. g. the residential part of a palace was built in the modern Renaissance style but its chapel was designed with Gothic elements). The façades of Czech Renaissance buildings were often decorated with sgraffito (figural or ornamental).


title: Renaissance architecture

text: During the reign of Holy Roman Emperor and Bohemian King Rudolph II, the city of Prague became one of the most important European centers of the late Renaissance art (so-called Mannerism). Nevertheless, not many architecturally significant buildings have been preserved from that time.


title: Renaissance architecture

text: In the 15th century, Croatia was divided into three states: the northern and central part of Croatia and Slavonia were in union with the Kingdom of Hungary, while Dalmatia, with the exception of independent Dubrovnik, was under the rule of the Venetian Republic. The Cathedral of St James in Šibenik, was begun in 1441 in the Gothic style by Giorgio da Sebenico "(Juraj Dalmatinac)". Its unusual construction does not use mortar, the stone blocks, pilasters and ribs being bonded with joints and slots in the way that was usual in wooden constructions. In 1477 the work was unfinished, and continued under Niccolò di Giovanni Fiorentino, who respected the mode of construction and the plan of the former architect, but continued the work which includes the upper windows, the vaults and the dome, in the Renaissance style. The combination of a high barrel vault with lower half-barrel vaults over the aisles the gives the façade its distinctive trefoil shape, the first of this type in the region. The cathedral was listed as a UNESCO World Heritage List in 2001.


title: Renaissance architecture

text: Renaissance architecture arrived in England during the reign of Elizabeth I, having first spread through the Low countries where among other features it acquired versions of the Dutch gable, and Flemish strapwork in geometric designs adorning the walls. The new style tended to manifest itself in large square tall houses such as Longleat House.


title: Renaissance architecture

text: The first great exponent of Italian Renaissance architecture in England was Inigo Jones (1573–1652), who had studied architecture in Italy where the influence of Palladio was very strong. Jones returned to England full of enthusiasm for the new movement and immediately began to design such buildings as the Queen's House at Greenwich in 1616 and the Banqueting House at Whitehall three years later. These works, with their clean lines, and symmetry were revolutionary in a country still enamoured with mullion windows, crenellations and turrets.


title: Renaissance architecture

text: During the early years of the 16th century the French were involved in wars in northern Italy, bringing back to France not just the Renaissance art treasures as their war booty, but also stylistic ideas. In the Loire Valley a wave of building was carried and many Renaissance châteaux appeared at this time, the earliest example being the Château d'Amboise (c. 1495) in which Leonardo da Vinci spent his last years. The style became dominant under Francis I (See Châteaux of the Loire Valley).


title: Renaissance architecture

text: The Renaissance in Germany was inspired first by German philosophers and artists such as Albrecht Dürer and Johannes Reuchlin who visited Italy. Important early examples of this period are especially the Landshut Residence, the Castle in Heidelberg, Johannisburg Palace in Aschaffenburg, Schloss Weilburg, the City Hall and Fugger Houses in Augsburg and St. Michael in Munich. A particular form of Renaissance architecture in Germany is the Weser Renaissance, with prominent examples such as the City Hall of Bremen and the Juleum in Helmstedt.


title: Renaissance architecture

text: In July 1567 the city council of Cologne approved a design in the Renaissance style by Wilhelm Vernukken for a two storied loggia for Cologne City Hall. St Michael in Munich is the largest Renaissance church north of the Alps. It was built by Duke William V of Bavaria between 1583 and 1597 as a spiritual center for the Counter Reformation and was inspired by the Church of il Gesù in Rome. The architect is unknown. Many examples of Brick Renaissance buildings can be found in Hanseatic old towns, such as Stralsund, Wismar, Lübeck, Lüneburg, Friedrichstadt and Stade. Notable German Renaissance architects include Friedrich Sustris, Benedikt Rejt, Abraham van den Blocke, Elias Holl and Hans Krumpper.


title: Renaissance architecture

text: One of the earliest places to be influenced by the Renaissance style of architecture was the Kingdom of Hungary. The style appeared following the marriage of King Matthias Corvinus and Beatrice of Naples in 1476. Many Italian artists, craftsmen and masons arrived at Buda with the new queen. Important remains of the Early Renaissance summer palace of King Matthias can be found in Visegrád. The Ottoman conquest of Hungary after 1526 cut short the development of Renaissance architecture in the country and destroyed its most famous examples. Today, the only completely preserved work of Hungarian Renaissance architecture is the Bakócz Chapel (commissioned by the Hungarian cardinal Tamás Bakócz), now part of the Esztergom Basilica.


title: Renaissance architecture

text: As in painting, Renaissance architecture took some time to reach the Habsburg Netherlands and did not entirely supplant the Gothic elements. An architect directly influenced by the Italian masters was Cornelis Floris de Vriendt, who designed the city hall of Antwerp, finished in 1564. The style is sometimes called the Flemish-Italian Renaissance style and is also known as the Floris style. In this style the overall structure was similar to that of late-Gothic buildings, but with larger windows and much florid decoration and detailing in the Renaissance styles. This style became widely influential across Northern Europe, for example in Elizabethan architecture, and is part of the wider movement of Northern Mannerism.


title: Renaissance architecture

text: In the early 17th century Dutch Republic, Hendrick de Keyser played an important role in developing the "Amsterdam Renaissance" style, which has local characteristics including the prevalence of tall narrow town-houses, the "trapgevel" or Dutch gable and the employment of decorative triangular pediments over doors and windows in which the apex rises much more steeply than in most other Renaissance architecture, but in keeping with the profile of the gable. Carved stone details are often of low profile, in strapwork resembling leatherwork, a stylistic feature originating in the School of Fontainebleau. This feature was exported to England.


title: Renaissance architecture

text: The first period (1500–50) is the so-called "Italian" as most of Renaissance buildings of this time were designed by Italian architects, mainly from Florence, including Francesco Fiorentino and Bartolomeo Berrecci. Renowned architects from Southern Europe became sought-after during the reign of Sigismund I the Old and his Italian-born wife, Queen Bona Sforza. Notable examples from this period include Wawel Castle Courtyard and Sigismund's Chapel.


title: Renaissance architecture

text: In the second period (1550–1600), Renaissance architecture became more common, with the beginnings of Mannerist and under the influence of the Netherlands, particularly in northern Poland and Pomerania, but also in parts of Lesser Poland. Buildings of this kind include the Cloth Hall in Kraków and city halls of Tarnów and Sandomierz. The most famous example is the 16th-century Poznań Town Hall, designed by Giovanni Battista di Quadro.


title: Renaissance architecture

text: In the third period (1600–50), the rising power of sponsored Jesuits and Counter Reformation gave impetus to the development of Mannerist architecture and Baroque. Most notable example of this peroid is Kalwaria Zebrzydowska park, mannerist architectural and park landscape complex and pilgrimage park, which consists Basilica of St. Mary and 42 chapels modelled and named after the places in Jerusalem and Holy Land. This is an UNESCO World Heritage Site. Another great example from this peroid is Krasiczyn Castle, which is an palazzo in fortezza with a unique sgraffito wall decorations, whose total area is about 7000 square meters.


title: Renaissance architecture

text: As in Spain, the adoption of the Renaissance style in Portugal was gradual. The so-called Manueline style (c. 1490–1535) married Renaissance elements to Gothic structures with the superficial application of exuberant ornament similar to the Isabelline Gothic of Spain. Examples of Manueline include the Belém Tower, a defensive building of Gothic form decorated with Renaissance-style loggias, and the Jerónimos Monastery, with Renaissance ornaments decorating portals, columns and cloisters.


title: Renaissance architecture

text: The first "pure" Renaissance structures appear under King John III, like the Chapel of Nossa Senhora da Conceição in Tomar (1532–40), the "Porta Especiosa" of Coimbra Cathedral and the Graça Church at Évora (c. 1530–1540), as well as the cloisters of the Cathedral of Viseu (c. 1528–1534) and Convent of Christ in Tomar (John III Cloisters, 1557–1591). The Lisbon buildings of São Roque Church (1565–87) and the Mannerist Monastery of São Vicente de Fora (1582–1629), strongly influenced religious architecture in both Portugal and its colonies in the next centuries.


title: Renaissance architecture

text: Prince Ivan III introduced Renaissance architecture to Russia by inviting a number of architects from Italy, who brought new construction techniques and some Renaissance style elements with them, while in general following the traditional designs of the Russian architecture. In 1475 the Bolognese architect Aristotele Fioravanti came to rebuild the Cathedral of the Dormition in the Moscow Kremlin, damaged in an earthquake. Fioravanti was given the 12th-century Vladimir Cathedral as a model, and produced a design combining traditional Russian style with a Renaissance sense of spaciousness, proportion and symmetry.


title: Renaissance architecture

text: In 1485, Ivan III commissioned the building of a royal Terem Palace within the Kremlin, with Aloisio da Milano being the architect of the first three floors. Aloisio da Milano, as well as the other Italian architects, also greatly contributed to the construction of the Kremlin walls and towers. The small banqueting hall of the Russian Tsars, called the Palace of Facets because of its facetted upper story, is the work of two Italians, Marco Ruffo and Pietro Solario, and shows a more Italian style.


title: Renaissance architecture

text: In 1505, an Italian known in Russia as Aleviz Novyi built twelve churches for Ivan III, including the Cathedral of the Archangel, a building remarkable for the successful blending of Russian tradition, Orthodox requirements and Renaissance style.


title: Renaissance architecture

text: The Renaissance architecture that found its way to Scandinavia was influenced by the Flemish architecture, and included high gables and a castle air as demonstrated in the architecture of Frederiksborg Palace. Consequently, much of the Neo-Renaissance to be found in the Scandinavian countries is derived from this source.


title: Renaissance architecture

text: In Denmark, Renaissance architecture thrived during the reigns of Frederick II and especially Christian IV. Inspired by the French castles of the times, Flemish architects designed masterpieces such as Kronborg Castle in Helsingør and Frederiksborg Palace in Hillerød. The Frederiksborg Palace (1602–1620) is the largest Renaissance palace in Scandinavia.


title: Renaissance architecture

text: Elsewhere in Sweden, with Gustav Vasa's seizure of power and the onset of the Protestant reformation, church construction and aristocratic building projects came to a near standstill. During this time period, several magnificent so-called "Vasa castles" appeared. They were erected at strategic locations to control the country as well as to accommodate the travelling royal court. Gripsholm Castle, Kalmar Castle and Vadstena Castle are known for their fusion of medieval elements with Renaissance architecture.


title: Renaissance architecture

text: The architecture of Norway was influenced partly by the occurrence of the plague during the Renaissance era. After the Black Death, monumental construction in Norway came to a standstill. There are few examples of Renaissance architecture in Norway, the most prominent being renovations to the medieval Rosenkrantz Tower in Bergen, Barony Rosendal in Hardanger, and the contemporary Austrat manor near Trondheim, and parts of Akershus Fortress.


title: Renaissance architecture

text: In Spain, Renaissance began to be grafted to Gothic forms in the last decades of the 15th century. The new style is called Plateresque, because of the extremely decorated façade, that brought to the mind the decorative motifs of the intricately detailed work of silversmiths, the "Plateros". Classical orders and candelabra motifs ("a candelieri") combined freely. As decades passed, the Gothic influence disappeared and the research of an orthodox classicism reached high levels. Although Plateresco is a commonly used term to define most of the architectural production of the late 15th and first half of 16th century, some architects acquired a more sober personal style, like Diego Siloe, and Andrés de Vandelvira in Andalusia, and Alonso de Covarrubias and Rodrigo Gil de Hontañón in Castile. This phase of Spanish Renaissance is called Purism. From the mid-sixteenth century, under such architects as Pedro Machuca, Juan Bautista de Toledo and Juan de Herrera there was a closer adherence to the art of ancient Rome, sometimes anticipating Mannerism, examples of which include the palace of Charles V in Granada and the Escorial. This "Herrerian style" or "arquitectura herreriana" of architecture was developed during the last third of the 16th century under the reign of Philip II (1556–1598), and continued in force in the 17th century, but transformed by the Baroque style of the time.


title: Renaissance architecture

text: Renaissance architecture spread to Colonial Bolivia, with examples being the Church of Curahuara de Carangas built between 1587 and 1608 known as the "Sistine Chapel of the Andes" by the Bolivians for its rich Mannerist decoration in its interior; and the Basilica of Our Lady of Copacabana built between 1601 and 1619 designed by the Spanish architect Francisco Jiménez de Siguenza.


title: Renaissance architecture

text: The best-known examples of the Renaissance architecture in the Colonial Brazil are the Mannerist Cathedral Basilica of Salvador built between 1657 and 1746 and the Franciscan Convent of Santo Antônio in João Pessoa built between 1634 and 1779.


title: Renaissance architecture

text: The House of the Five Medallions is a historic house built in 1540, located in Santo Domingo, this preserves a Plateresque Renaissance facade.


title: Renaissance architecture

text: The large Basilica of San Francisco in Quito, built between 1535 and 1650, is of Mannerist Renaissance style.


title: Renaissance architecture

text: A notable example of Renaissance architecture in Colonial Mexico is the Cathedral of Mérida, Yucatán, one of the oldest cathedrals in the Americas, built between 1562 and 1598 and designed by Pedro de Aulestia and Juan Miguel de Agüero.


title: Renaissance architecture

text: Several of the churches of the city of Cusco were begun during the Renaissance period, including Cusco Cathedral, (1539). Many others are Baroque in style.


title: Renaissance architecture

text: During the 19th century there was a conscious revival of the style in Renaissance Revival architecture, that paralleled the Gothic Revival. Whereas the Gothic style was perceived by architectural theorists as being the most appropriate style for Church building, the Renaissance palazzo was a good model for urban secular buildings requiring an appearance of dignity and reliability such as banks, gentlemen's clubs and apartment blocks. Buildings that sought to impress, such as the Paris Opera, were often of a more Mannerist or Baroque style. Architects of factories, office blocks and department stores continued to use the Renaissance palazzo form into the 20th century, in Mediterranean Revival Style architecture with an Italian Renaissance emphasis.


title: Renaissance architecture

text: Many of the concepts and forms of Renaissance architecture can be traced through subsequent architectural movements—from Renaissance to High-Renaissance, to Mannerism, to Baroque (or Rococo), to Neo-Classicism, and to Eclecticism. While Renaissance style and motifs were largely purged from Modernism, they have been reasserted in some Postmodern architecture. The influence of Renaissance architecture can still be seen in many of the modern styles and rules of architecture today.


title: Max Schreck

text: Friedrich Gustav Maximilian Schreck (6 September 1879 – 20 February 1936), known professionally as Max Schreck, was a German actor, best known for his lead role as the vampire Count Orlok in the film "Nosferatu" (1922).


title: Max Schreck

text: Max Schreck was born in Berlin-Friedenau, on 6 September 1879. Six years later, his father bought a house in the independent rural community of Friedenau, then part of the district of Teltow.


title: Max Schreck

text: Schreck's father did not approve of his son's ever-growing enthusiasm for theater. His mother provided the boy with money, which he secretly used for acting lessons, although only after the death of his father did he attend drama school. After graduating, he traveled briefly across the country with poet and dramatist Demetrius Schrutz.


title: Max Schreck

text: Schreck had engagements in Mulhouse, Meseritz, Speyer, Rudolstadt, Erfurt and Weissenfels, and his first extended stay at the Gera Theater. Greater engagements followed, especially in Frankfurt am Main. From there, he went to Berlin for Max Reinhardt and the Munich Kammerspiele for Otto Falckenberg.


title: Max Schreck

text: Schreck received his training at the Berliner Staatstheater (State Theatre of Berlin), completing it in 1902. He made his stage début in Meseritz and Speyer, and then toured Germany for two years, appearing at theatres in Zittau, Erfurt, Bremen, Lucerne, Gera, and Frankfurt am Main. Schreck then joined Max Reinhardt's company of performers in Berlin. Many members of Reinhardt's troupe went on to make significant contributions to the German film industry.


title: Max Schreck

text: For three years between 1919 and 1922, Schreck appeared at the Munich Kammerspiele, including a role in the expressionist production of Bertolt Brecht's début, ("Drums in the Night") in which he played the "freakshow landlord" Glubb. During this time, he also worked on his first film "The Mayor of Zalamea", adapted from a six-act play, for Decla Bioscop. In 1921, he was hired by Prana Film for its first and only production, "Nosferatu" (1922), an unlicensed adaptation of Bram Stoker's novel "Dracula". The company declared itself bankrupt after the film was released to avoid paying copyright infringement costs to the author's widow, Florence Stoker. Schreck portrayed Count Orlok, a character analogous to Count Dracula.


title: Max Schreck

text: While still in Munich, Schreck appeared in a 16-minute (one-reeler) slapstick, "surreal comedy" written by Bertolt Brecht with cabaret and stage actors Karl Valentin, Liesl Karlstadt, Erwin Faber, and Blandine Ebinger, entitled ("Mysteries of a Barbershop", 1923), directed by Erich Engel. Schreck appeared as a blind man in the film "The Street" (also 1923).


title: Max Schreck

text: Schreck's second collaboration with "Nosferatu" director F. W. Murnau was the comedy ("The Grand Duke's Finances", 1924). Even Murnau did not hesitate to declare his contempt for the picture. In 1926, Schreck returned to the Kammerspiele in Munich and continued to act in films, surviving the advent of sound until 1936, when he died from heart failure.


title: Max Schreck

text: Schreck was married to actress Fanny Normann, who appeared in a few films, often credited as Fanny Schreck.


title: Max Schreck

text: One of Schreck's contemporaries recalled that he was a loner with an unusual sense of humor and skill in playing grotesque characters. He also reported that he lived in "a remote and incorporeal world" and that he often spent time walking through forests.


title: Max Schreck

text: There were rumours at the time of "Nosferatu" and for many years afterwards that Schreck did not actually exist and was a pseudonym for the well-known actor Alfred Abel.


title: Max Schreck

text: On 19 February 1936, Schreck had just played The Grand Inquisitor in the play , standing in for Will Dohm. That evening he felt unwell and the doctor sent him to the hospital where he died early the next morning of a heart attack. His obituary especially praised his lead role performance in Molière's play "The Miser". He was buried on 14 March 1936 at Wilmersdorfer Waldfriedhof Stahnsdorf in Brandenburg.


title: Max Schreck

text: The person and performance of Max Schreck in "Nosferatu" was fictionalized by actor Willem Dafoe in E. Elias Merhige's "Shadow of the Vampire". In a secret history, "Shadow" posits that Schreck was a real vampire. Dafoe was nominated for the Academy Award for Best Supporting Actor for his portrayal of Schreck.


title: Max Schreck

text: Scriptwriter Daniel Waters created the character Max Shreck (portrayed by Christopher Walken) for the Tim Burton film "Batman Returns" and compared him to the character Max Schreck played in "Nosferatu". "Variety" claimed the name was an in-joke.


title: Continuous positive airway pressure

text: Continuous positive airway pressure (CPAP) is a form of positive airway pressure (PAP) ventilation in which a constant level of pressure greater than atmospheric pressure is continuously applied to the upper respiratory tract of a person. The application of positive pressure may be intended to prevent upper airway collapse, as occurs in obstructive sleep apnea, or to reduce the work of breathing in conditions such as acute decompensated heart failure. CPAP therapy is highly effective for managing obstructive sleep apnea. Compliance and acceptance of use of CPAP therapy can be a limiting factor, with 8% of people stopping use after the first night and 50% within the first year.


title: Continuous positive airway pressure

text: CPAP is the most effective treatment for moderate to severe obstructive sleep apnea, in which the mild pressure from the CPAP prevents the airway from collapsing or becoming blocked. CPAP has been shown to be 100% effective at eliminating obstructive sleep apneas in the majority of people who use the therapy according to the recommendations of their physician. In addition, a meta-analysis showed that CPAP therapy may reduce erectile dysfunction symptoms in male patients with obstructive sleep apnea.


title: Continuous positive airway pressure

text: Upper airway resistance syndrome is another form of sleep-disordered breathing with symptoms that are similar to obstructive sleep apnea, but not severe enough to be considered OSA. CPAP can be used to treat UARS as the condition progresses, in order to prevent it from developing into obstructive sleep apnea.


title: Continuous positive airway pressure

text: CPAP also may be used to treat pre-term infants whose lungs are not yet fully developed. For example, physicians may use CPAP in infants with respiratory distress syndrome. It is associated with a decrease in the incidence of bronchopulmonary dysplasia. In some preterm infants whose lungs have not fully developed, CPAP improves survival and decreases the need for steroid treatment for their lungs. In resource-limited settings where CPAP improves respiratory rate and survival in children with primary pulmonary disease, researchers have found that nurses can initiate and manage care with once- or twice-daily physician rounds.


title: Continuous positive airway pressure

text: In March 2020, the USFDA suggested that CPAP devices may be used to support patients affected by COVID-19; however, they recommended additional filtration since non-invasive ventilation may increase the risk of infectious transmission.


title: Continuous positive airway pressure

text: CPAP also has been suggested for treating acute hypoxaemic respiratory failure in children, however, due to a limited number of clinical studies, the effectiveness and safety of this approach to providing respiratory support is not clear.


title: Continuous positive airway pressure

text: Some people experience difficulty adjusting to CPAP therapy and report general discomfort, nasal congestion, abdominal bloating, sensations of claustrophobia, mask leak problems, and convenience-related complaints. Oral leak problems also interfere with CPAP effectiveness.


title: Continuous positive airway pressure

text: CPAP therapy uses machines specifically designed to deliver a flow of air at a constant pressure. CPAP machines possess a motor that pressurizes room temperature air and delivers it through a hose connected to a mask or tube worn by the patient. This constant stream of air opens and keeps the upper airway unobstructed during inhalation and exhalation. Some CPAP machines have other features as well, such as heated humidifiers.


title: Continuous positive airway pressure

text: The therapy is an alternative to positive end-expiratory pressure (PEEP). Both modalities stent open the alveoli in the lungs and thus, recruit more of the lung surface area for ventilation, but, while PEEP refers to devices that impose positive pressure only at the end of the exhalation, CPAP devices apply "continuous" positive airway pressure throughout the breathing cycle. Thus, the ventilator does not cycle during CPAP, no additional pressure greater than the level of CPAP is provided, and patients must initiate all of their breaths.


title: Continuous positive airway pressure

text: Nasal prongs or a nasal mask is the most common modality of treatment. Nasal prongs are placed directly in the person's nostrils. A nasal mask is a small mask that covers the nose. There are also nasal pillow masks which have a cushion at the base of the nostrils, and are considered the least invasive option. Frequently, nasal CPAP is used for infants, although this use is controversial. Studies have shown nasal CPAP reduces ventilator time, but an increased occurrence of pneumothorax also was prevalent.


title: Continuous positive airway pressure

text: Nasopharyngeal CPAP is administered by a tube that is placed through the person's nose and ends in the nasopharynx. This tube bypasses the nasal cavity in order to deliver the CPAP farther down in the upper respiratory system.


title: Continuous positive airway pressure

text: A full face mask over the mouth and nose is another approach for people who breathe out of their mouths when they sleep. Often, oral masks and naso-oral masks are used when nasal congestion or obstruction is an issue. Devices that combine nasal pressure with mandibular advancement devices (MAD) also exist.


title: Continuous positive airway pressure

text: A large portion of people do not adhere to the recommended method of CPAP therapy, with more than 50% of people discontinuing use in the first year. A significant change in behaviour is required in order to commit to long-term use of CPAP therapy and this can be difficult for many people. In addition, people with moderate to severe obstructive sleep apnea have a higher risk of concomitant symptoms such as anxiety and depression, which can make it more difficult to change their sleep habits and to use CPAP on a regular basis. Educational and supportive approaches have been shown to help motivate people who need CPAP therapy to use their devices more often.


title: Continuous positive airway pressure

text: Colin Sullivan, an Australian physician and professor, invented CPAP in 1980 at Royal Prince Alfred Hospital in Sydney.


title: Rogério Ceni

text: Rogério Mücke Ceni (; born 22 January 1973) is a Brazilian professional football coach and former player who is in charge of São Paulo FC.


title: Rogério Ceni

text: He is considered one of the all-time greatest Brazilian goalkeepers and is recognised by the International Federation of Football History & Statistics as the goalkeeper to have scored the most goals in the history of football. During the height of his career (2005-2008) he was also recognized as one of the best goalkeepers in the world at the time.


title: Rogério Ceni

text: Most of Ceni's vast professional career, which had spanned 25 years and 1237 professional club matches, was associated with São Paulo, with which he won 20 major titles, including three Brazilian Leagues, two Copa Libertadores and the 2005 FIFA Club World Cup. He also scored 131 goals during his career, with most of them coming from free kicks and penalties and one coming from open play.


title: Rogério Ceni

text: Ceni also represented Brazil 18 times over the course of his career, being part of the squads that won the 2002 FIFA World Cup and the 1997 FIFA Confederations Cup, and also taking part at the 2006 FIFA World Cup.


title: Rogério Ceni

text: Rogério Mücke Ceni was born 22 January 1973 in Pato Branco, Paraná. Ceni is of Italian and German descent. He holds Italian citizenship.


title: Rogério Ceni

text: Ceni made his senior debuts with Sinop. In 1990, the 17-year-old joined São Paulo, spending his first six seasons in Brazilian Série A as a backup or third-choice.


title: Rogério Ceni

text: On 25 June 1993 Ceni made his first team debut, starting in a 4–1 win against Tenerife for the Trofeo Ciudad de Santiago de Compostela friendly championship. In the following year he was utilized as a starter in the 1994 Copa CONMEBOL, appearing in all matches as his side was crowned champions.


title: Rogério Ceni

text: In the 1997 season, after Zetti moved to Santos, Ceni was chosen as his replacement. On 14 July 2005, Ceni was São Paulo's captain as the team won the 2005 Copa Libertadores, a third for the club. Two weeks later, in a match against Atlético Mineiro, he broke the record for most appearances for the team, with 618 matches – he wore a special commemorative jersey that had the number "618" printed on the back; on 25 July of the following year, he scored a penalty against Mexican side Guadalajara (also a match-winner), becoming the "Tricolor"'s all-time leading scorer in the Libertadores.


title: Rogério Ceni

text: From 2005 to 2007, he scored an astonishing 47 goals in all competitions combined, as the club won two national championships and the 2005 FIFA Club World Cup; in the latter competition, he netted in the semifinals against Ittihad (3–2, through a penalty kick), and was voted "Man of the match" in the final against Liverpool, as well as the tournament's MVP.


title: Rogério Ceni

text: On 20 August 2006, Ceni scored his 63rd and record-breaking goal by netting a free kick against Cruzeiro in the domestic league, a few minutes after denying a penalty to the opposition. Later in the same match, he scored a goal from the spot and took his total to 64, also tying the match 2–2; this put him two goals ahead of the previous holder, Paraguayan José Luis Chilavert.


title: Rogério Ceni

text: On 29 October 2006, Ceni made his 700th official appearance for São Paulo, against Figueirense in a 2–0 victory. Some of the gloss was taken off the occasion when the player was ordered to change his bright yellow jersey because it matched with the referee's; at the end of the 2007 season, which ended in league conquest, he was voted by the Brazilian Football Confederation as the Best Player.


title: Rogério Ceni

text: In April 2009, Ceni fractured his ankle in training, being initially sidelined for six months, but recovering sooner than expected. On 28 October 2010, against Atlético Paranaense, he played his 700th game as club captain. The following year, on 27 March, he scored from a free kick to win the match against arch rivals Corinthians, shooting from 18 metres for his 100th goal.


title: Rogério Ceni

text: On 7 September 2011, Ceni made his 1000th appearance for São Paulo. In late January of the following year, the 39-year-old underwent an operation on his shoulder, losing six months of competition.


title: Rogério Ceni

text: On 1 August 2012, Ceni returned to the field, scoring from a direct free kick in a 2–0 Copa Sudamericana away win against Bahia; his side went on to win that year's tournament. He subsequently scored three goals in the league, ending the campaign as a starter.


title: Rogério Ceni

text: Despite already being aged 40, Ceni stated that his spirit for competition was the same as an eighteen-year-old's, but still stating that his recovery is harder than years ago. On 14 July 2013, Ceni scored his 111th goal from a free kick in a 2–3 loss at Vitória.


title: Rogério Ceni

text: On 7 December 2013, after lengthy negotiations, Ceni renewed his contract with "Tricolor" for a further season. On 20 April 2014, in a 3–0 home win against Botafogo, he had three records recognized by Guinness World Records: most goals scored by a goalkeeper, number of games played for the same club and number of times as captain.


title: Rogério Ceni

text: On 27 October 2014, Ceni broke Ryan Giggs' record for most wins at a single club after playing in São Paulo's 3–0 win over Goiás. He finished the campaign with eight league goals (his best goal scoring record within seven years), being an undisputed starter.


title: Rogério Ceni

text: On 28 November 2014, Ceni signed a new deal with São Paulo, until August 2015, despite previously stating that he would retire at the end of the season. On 29 March 2015, after scoring in a 3–0 home win against Linense, he surpassed Marcelinho Carioca in the number of goals scored by direct free kicks for only one club, with Ceni having 60 and Marcelinho, 59.


title: Rogério Ceni

text: In June 2015, Ceni scored his 128th goal, entering in the club's top 10 goalscorers list. Ceni announced his retirement from professional football on 6 December 2015.


title: Rogério Ceni

text: A Brazilian international for nine years, Ceni collected 16 caps. He was selected to the squads that won the 1997 FIFA Confederations Cup and the 2002 FIFA World Cup (and the 2006 World Cup, still not fully recovered from knee surgery), but only appeared in two games in final stages, the 3–2 win against Mexico in the first tournament and the 4–1 triumph over Japan in the third.


title: Rogério Ceni

text: In December 2016, Ceni was appointed as São Paulo coach, with Englishman Michael Beale and Frenchman Charles Hembert joining as his assistants. On 3 July 2017, after poor results - São Paulo were eliminated in State League, Brazilian Cup and 2017 Copa Sudamericana into a period of one month and are in relegation zone in Brazilian League, he was sacked.


title: Rogério Ceni

text: Ceni signed with Fortaleza to coach the team in 2018. On 3 November of that year, Fortaleza clinched promotion to the Série A, and seven days later, the club clinched the Série B title for the first time in its history. In 2019, Fortaleza also won the Campeonato Cearense and the Copa do Nordeste.


title: Rogério Ceni

text: On 11 August 2019, Ceni was named Cruzeiro head coach, but was dismissed on 26 September, after having altercations with the club's main players, specifically Thiago Neves and Dedé.


title: Rogério Ceni

text: Three days later, Ceni was announced at his former side Fortaleza, replacing fired Zé Ricardo. On 22 October 2020, he again won the Ceará state title, his fourth title with Fortaleza.


title: Rogério Ceni

text: On 10 November 2020, Ceni agreed to a contract with Flamengo until December 2021, replacing the sacked Domènec Torrent. He won the 2020 Série A with the club, but was sacked on 10 July 2021.


title: Rogério Ceni

text: A dead-ball specialist, Ceni was the official taker of free kicks and penalties for São Paulo from 1997 until his retirement, a time period in which he scored 131 goals. In addition to his accurate set-pieces, prolific goalscoring, distribution, and ability with the ball at his feet, he was also known as an excellent goalkeeper and shot-stopper, and stood out for his determination and longevity throughout his career, as he retired at over 40 years of age. Ceni was known for being capable of producing brilliant saves, such as those in the final of the 2005 FIFA Club World Cup, which saw São Paulo defeat Liverpool 1–0; for his performances, Ceni later won the Golden Ball, which is awarded to the competition's best player. He is considered to be one of Brazil's greatest goalkeepers ever.


title: Badoo

text: Badoo is a dating-focused social network founded by Russian entrepreneur Andrey Andreev in 2006. It is headquartered in Limassol, Cyprus and London, United Kingdom, with offices in Malta, Russia and the United States. It operates in 190 countries and is available in 47 different languages, making it the world's most widely used dating network. The app is available on iOS, Android, and the web. Badoo operates on a freemium model, whereby the core services can be used without payment. As of 2022, it boasts of over 318 million users with approximately 41% being between the ages of 25 and 35 years old.


title: Badoo

text: Badoo was founded by Russian entrepreneur Andrey Andreev and launched in Moscow in November 2006. It has since ranked among the most popular dating websites. In 2016 it was the most-downloaded dating app in 21 countries. In 2011, "Wired" described Badoo as a "mass phenomenon" in Brazil, Mexico, France, Spain, and Italy.


title: Badoo

text: In 2007, Badoo raised $30 million in funding. In January 2008, the Russian investor Finam Capital paid $30 million for a 10% stake in Badoo for expansion in Russia. As of 2009, Finam now has 20% ownership of Badoo.


title: Badoo

text: After going viral on Facebook through popular social games and quizzes, Badoo was asked to adjust its approach. According to Insidefacebook.com, during the week of January 11, 2012, Badoo was ranked 17th in growing Facebook apps. The official launch of Badoo in the U.S. was on March 23, 2012, with Nick Cannon introducing the service in the United States.


title: Badoo

text: In April 2017, Badoo launched a newly redesigned app and brand, adopting the colour purple and an orange heart symbol as its logo, as well as the tagline "Bigger than Dating". Andreev discussed this redesign in an interview with "Business Insider" James Cook in the same month.


title: Badoo

text: In July 2019, Badoo was the subject of a Forbes investigative report outlining workplace misogyny, drug use, as well as sexual and racial discrimination. Badoo employees, including women, reported a culture of workplace afterparties involving use of recreational drugs and prostitutes, along with several instances of sexual assault and harassment.