Архітектурні мотиви в живописі італійського відродження: до питання охорони культурної спадщини

The purpose of the article is to analyse architectural motifs in Italian Renaissance paintings in the context of prerequisites for forming a cultural heritage protection system. The methodology is based on the application of such scientific research methods as historical (analysis of artworks in the context of historical epoch); analytical (plot line identification); comparative. The scientific novelty of the article lies in the fact that for the first time, ancient architecture in Italian Renaissance painting is analysed as one of the factors in the emergence and development of cultural heritage protection, the path to which led from monuments losing their status and original purpose, decline, to renewed interest in the architectural heritage of various historical epochs. Conclusions. The examined creative works of Italian artists allowed proposing a new view on ancient Roman architectural objects in artists’ activities. It is noted that such artistic practice was not only a tool for visualising the symbolic-allegorical system widespread during the Renaissance but also documented ancient tradition through painting, thereby forming contemporary interest and respect for previous epochs. This tendency developed the practice of preservation and study of heritage further. The apex came in the 19th century when European countries systematically began forming monument protection and museum affairs, archaeological field, and in the 20th century – a system of cultural heritage protection regulated by national legislation and international conventions was created. The available materials supported the following conviction: the Renaissance artists’ interest in cultural heritage objects is one of the stages in forming practices for protecting humanity’s material and spiritual achievements. This stage relates to various historical localities where interest in objects of the past coexisted with the destruction or partial demolition of these objects. In the 19th century, monument protection and museum work, and the archaeological field began to be built at public and state levels, and in the 20th century, it had already become a cultural heritage protection system regulated by national and international legal frameworks.