2012年5月19日 星期六

文藝復興時期的佛羅倫斯 --- Leon Battista Alberti與他的城市

  •  這note 是謝函
    我與臺大歷史系有些緣份
    譬如說 十幾年前有一門宋史的作業是一份宋代的"日報" (可惜我當時沒去要)

    今晚與玉燕參加
    這是歷史系藝術史的一門課的報告實習
     包括三單元
    1.介紹文藝復興早期的人地作品等 放NHK 的一部早期文藝復興  我只知道約1991年這是6本書 DVD可能3盤
    2  他們發表二組作業 都是以 Leon Battista Alberti生平與他的城市 *為主題
     一組是偵探廣播劇
     另一組是設計像"大富翁"般的BOARD GAME(更有文化水準: 地點是15世紀的翡凝翠) (每盤4人比賽 一組裁判  我得第2名獎金200元(送回)


    *Juran Quality HANDBOOK 第5板 1998 某章即是以他的名建築為內容

    MUH MORE ON
    文藝復興時期的佛羅倫斯 --- Leon Battista Alberti與他的城市
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  • 文藝復興時期的佛羅倫斯 --- Leon Battista Alberti與他的城市
    • 時　間：2012年5月18日（五）18：30
    • 地　點：NTU  活大202
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    • 這是歷史系藝術史的一門課的報告實習
    •  包括三單元
    • 1.介紹文藝復興早期的人地作品等 放nhk的一部早期文藝復興  我只知道約1991年這是6本書 DVD可能3盤
    • 2他們發表二組作業 都是以 Leon Battista Alberti生平與他的城市 為主題: 一組是偵探廣播劇
    •  另一組是設計像"大富翁"般的BOARD GAME(更有文化水準: 地點是15世紀的翡凝翠 (每盤4人比賽 一組裁判  我得第2名獎金200元(送回)
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      　来年1月2日午後18時5分からNHKで「フィレンツェルネサンス」という現地から生中継の番組が放送されるとのこと。ダヴィンチ、ミケランジェロらが活躍したフィレンツェでの生中継放送ということもあってかなり楽しみにしています。
      　中継される場所はサンタ・マリア・デル・フィオーレ大聖堂、サン・ジョバンニ洗礼堂、ヴァザーリの 回廊、ヴェッキオ橋、ウフィツィ美術館、シニョーリア広場、ヴェッキオ宮殿等を中継として回るそうです。そして、フィレンツェの良さを現地生中継というな かなか見れない異例さで伝えてくれるはずです。生中継特有のアクシデントもあるかもしれないです。
      　これが初めての企画というわけではないようで、前回はフランスを舞台に、南フランスのプロヴァンス を特集していました。もちろん私もTVに釘付けで楽しませてもらいました。現地を各班に分かれて突撃取材のような感じで放送されてました。石鹸のおしゃれ なお店とか。ちょっとした広場でライブ等を行う場所を訪れたりと、フランスのプロヴァンスの良さを魅せてくれました。おかげで一晩でフランスのファンに。 前まではイタリアが一番好きな国で、あとはイングランドとか(イングランドの場合はフットボールとホームズが好きだから)でした。
      　本当に今回も楽しみにしてますよ。フィレンツェに一度行ってみたい・・・。行こうと思えば行けなくはないけど、今の時期は忙しいだけに難しいし。イタリアに住むならフィレンツェかヴェネツィアと勝手に決めている私です。
      　出演者もNHKのアナウンサーと専門の知識を持った大学教授、そして、女優の中越典子さんも出演とのこと。正月2日からということもあって、なかなか忙しい時期だけど、TVでのんびりイタリア風な癒しを味わえると思うので見たいと思います。
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    • NHKフィレンツェ・ルネサンス (1)
       
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      NHKフィレンツェ・ルネサンス (1) [大型本]

      森田 義之 (編さん)
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      登録情報

    • 大型本: 134ページ
    • 出版社: 日本放送出版協会 (1991/07)
    • ISBN-10: 4140087595
    • ISBN-13: 978-4140087596
    • 発売日： 1991/07
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      NHKフィレンツェ・ルネサンス（2）

    • 美と人間の革新
    • 森田義之／日高健一郎
    • NHK出版
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    • 『NHKフィレンツェ・ルネサンス 1 ――夜明け』（共編著）日本放送出版協会 1991年　ISBN 9784140087596
    • 『NHKフィレンツェ・ルネサンス　3　――百花繚乱の画家たち』 ISBN 9784140087619
    • 『NHKフィレンツェ・ルネサンス 4 ――再生への讃歌』 ISBN 9784140087626
    • 『NHKフィレンツェ・ルネサンス 5 ――三巨匠』 ISBN 9784140087633

  • 『NHKフィレンツェ・ルネサンス 2 ――美と人間の革新』（日高健一郎共著） ISBN 9784140087602
  • 『NHKフィレンツェ・ルネサンス 6 ――花の都の落日』（日高健一郎共著） ISBN 9784140087640
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    •  Wikipedia
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    •  萊昂·巴蒂斯塔·阿爾伯蒂(Leon Battista Alberti，1404年2月18日－1472年4月20日)是文藝復興時期在義大利的建築師、建築理論家、作家、詩人、哲學家、密碼學家，是當時的一位通才。他被譽為是真正作爲復興時期的代表建築師，將文藝復興建築的營造提高到理論高度。他著有《論建築》，於1485年出版，是當時第一部完整的建築理論著作，並因應谷騰堡的印刷術的幫助下，推動了文藝復興運動的發展。阿爾伯蒂仿古建築設計手法嚴謹純正，他在《論建築》這本書裡面體現了從文藝復興人文主義者地角度討論了建築的可能性，並提出應該根據歐幾里得的數學原理，在圓形、方形等基本集合體制上進行合乎比例的重新組合，以找到建築中「美的黃金分割」。他在建設Palazzo Rucellai的過程中使用了各種柱式，而這些柱子都擁有經過精心推敲的比例。而宮殿的頂部也是獨創的深出簷，甚至遮住了屋頂，使得建築的外觀保持完整的方形。代表作有佛羅倫斯的魯奇蘭府邸。

      生平

      童年與在學時期

      萊昂本身是佛羅倫斯一個富裕的商人Lorenzo Alberti與Bologna的一位寡婦在熱那亞所生的兩位私生子之一。由於他的私生子身份，他的一家被統治佛羅倫斯的阿爾伯蒂家族禁止在佛羅倫斯居住，而另一方面，他的母親亦於瘟疫中死去，所以萊昂在早年與父親只好投靠在威尼斯辦銀行的叔叔。他的父親在他4歲時的1408年再婚，而在1428年時，家族的禁令撤銷，使他們一家可以回到佛羅倫斯定居。
    •   レオン・バッティスタ・アルベルティ（Leon Battista Alberti、1404年2月14日 - 1472年4月25日）は、初期ルネサンスの人文主義者、建築理論家、建築家である。専攻分野は法学、古典学、数学、演劇作品、詩作であり、また絵画、彫刻については実作だけでなく理論の構築にも寄与する。音楽と運動競技にも秀で、両足を揃えた状態で人を飛び越したと伝えられる。
      彼は多方面に才能を発揮し、ルネサンス期に理想とされた「万能の人」の最初の典型と言われた天才。確実に彼に帰属するとされる絵画、彫刻は現在のところ伝わっておらず、建築作品についても少数ではあるが、芸術理論は様々な分野で後世に影響を与えた。

      目次

      生涯 [編集]

      アルベルティ家はフィレンツェにおいて銀行を営む有力商人貴族であったが、グエルファ党に属していたため、ギベリン党との抗争によって1387年に国外追放された。レオンはロレンツォ・アルベルティの庶子として亡命先のジェノヴァに生まれ、1414年にはヴェネツィアに移住した。早くから英才教育を受け、パドヴァで古典学と数学を学んだ後、1421年にボローニャ大学に進んだ。彼はそこで教会法で学位を取得し、1428年に卒業。以後は1432年に教皇庁の書記官となるまでヨーロッパを歴訪した。 1428年には、アルベルティ家への追放命令が解除されたためフィレンツェを訪れ、1434年にはエウゲニウス4世とともに再訪するが、そこでフィリッポ・ブルネレスキ、ドナテッロ、マザッチョと親交を結んだ。1436年には、彼らに『絵画論（Della pittura）』を献呈している。
      1432年頃、ローマに移住し、親友であったフラーヴィオ・ビヨンドの仲介により、教皇庁の記念物監督官となった。エウゲニウス4世は、すでに建築事業顧問であったベルナルド・ロッセリーノにアルベルティの助言を仰ぐことを指示し、1453年から断続的にアクア・ヴェルジネの水路修復とトレヴィの泉の造営を行った。しかし、トレヴィの泉は1732年から全面的に改修されたため、彼らの作品をみることはできない。教皇庁において、アルベルティはキケロなどの古代ローマ時代の人文学に傾倒した。特に彼の目を引いたのは、ウィトルウィウスの『建築について』であったと考えられる。アルベルティは、そこに書かれている人体比例と建築比例の理論に着目し、これを基礎として、1451年までに著書『建築論（De re aedificatoria）』を完成させた。彼は、この論考に死ぬまで手を入れており、1485年になってフィレンツェで刊行された（原本・初版ともにラテン語である。イタリア語訳のものは、1546年にヴェネツィアで発刊された）。
      アルベルティは、フィレンツェの有力な商人であったジョヴァンニ・ディ・パオロ・ルチェッライと親しく、1446年に起工されたパラッツォ・ルチェライの設計を行っている。これは全面的にオーダーを用いた最初の例で、ファサードは明らかにローマのコロッセウムを参考にしている。その後、彼はルーカ・デッラ・ロッビアとともにリミニのシジズモンド・マラテスタ公に召喚され、1446年10月31日に、サン・フランチェスコ聖堂を改装してテンピオ・マラテスティアーノとする工事が起工する（これはシジズモンド・マラテスタ公の失脚と死により未完に終わった）。 フィレンツェに戻った彼は、パオロ・ルチェッライからサンタ・マリア・ノヴェッラ教会正面の設計を委託された。アルベルティは、正方形の組み合わせと単純な比例関係を構築し、総大理石のファサードを設計したが、これが完成したのは彼の死後、1477年である。フィレンツェでは、1460年、ミケロッツォ・ディ・バルトロメオの設計によるサンティッシマ・アンヌンツィアータ聖堂の建築を引き継ぎ、後陣部分の設計にも携わっている。
      1459年、ピウス2世に従ってマントヴァを訪れたアルベルティは、1470年に再びここを訪れ、二つの教会、サン・セバスティアーノ聖堂とサンタンドレア聖堂の設計を請け負った。前者の設計は1460年に構想されており、1470年に修正、起工された。後者は1470年に構想された、彼の最も影響力の大きい建築である。ラテン十字の平面を持つこの教会堂には、古代ローマ神殿と凱旋門のデザインを適用しており、内部はブルネレスキのデザインしたトスカーナのロマネスク的バシリカ型とは異なる、堂々としたトンネル型ヴォールトを用いた。
      1471年にもマントヴァに滞在するが、ローマに戻った1472年に死去した。彼は、親切で礼儀正しく、紳士的であったため、生涯を通じて尊敬された。

      影響 [編集]

      彼は芸術のみならず、科学的分野においても足跡を残している。暗号アルファベットを交互に使用する多アルファベット換字式暗号（Polyalphabet substitution cipher）(ヴィジュネル暗号の原型)を発明したことはよく知られているが、その思考は数学論だけではなく、力学、家庭経済にも及ぶ。
      アルベルティの『絵画論（De pictura）』は、西洋絵画を確立したものであると言っても過言ではない。彼は遠近法の手法を構築し、絵画は遠近法と構成と物語の三つの要素が調和し たものであると考え、これによって絵画の空間を秩序づけた。彼は、芸術作品について常に調和を重んじ、それを文法化することに腐心した。そのため、彼の芸 術論は非常に優れたテキストであった。
      ルネサンス最初の建築理論となる『建築論』は、ウィトルウィウスの 『建築十書』と、ローマ建築の遺構を調査して書き上げられたものであるが、ウィトルウィウスのラテン語能力の低さと、用いられているギリシャ建築の用語が 全く知られていなかったため、『建築について』の理解は多難を極めた。しかし、彼は建築比例と5種類のオーダーを再発見し、その要素を『建築論』にまとめ た。アルベルティの紹介した人体比例は、レオナルド・ダ・ヴィンチの有名なスケッチ、『ウィトルウィウスによる人体比例図』に図式されている。建築論を書いた後に設計をはじめたという点が独特であるが、その建築作品は教条的ではなく、自らの『建築論』にしたがわない部分もしばしば見受けられる。また、ローマ建築を懐古的に処理することもなく、むしろ自由に、実験的に操作した。

      主要作品 [編集]


      サンタ・マリア・ノヴェッラ教会のファサード
    • 『重量・挺・牽引法（Trattato sui pondi,leve e tirari）』
    • 『数学的遊戯（Ludi matematici）』
    • 『家族論（Della famiglia）』
    • 『市民生活論（Teogenio）』
    • 1435年に執筆　『絵画論（De pictura）』　
    • 1443年から1451年に執筆　『建築論（De re aedificatoria）』（初版は1485年）
    • 1446年頃起工・1451年完成　パラッツォ・ルチェッライ（フィレンツェ）
    • 1446年起工・1468年中断（未完）　テンピオ・マラテスティアーノのファサード（リミニ）
    • 1456年起工・1470年完成　サンタ・マリア・ノヴェッラ教会のファサード（フィレンツェ）
    • 1460年頃設計　サン・セバスティアーノ教会（マントヴァ）
    • 1472年起工・1494年完成　サンタンドレア教会（マントヴァ）

    日本語文献 [編集]

  • 三輪福松訳 『絵画論』　中央公論美術出版、新装版1992年
  • 森雅彦編訳　『芸術論』　中央公論美術出版、1992年、新装版2011年
  • 相川浩訳　『建築論』　中央公論美術出版、1982年
  • 池上俊一・徳橋曜共訳　『家族論』　講談社、2010年
  • 相川浩　『建築家アルベルティ　クラシシズムの創始者』　中央公論美術出版、1988年
  • 池上俊一　『イタリア・ルネサンス再考　花の都とアルベルティ』　講談社学術文庫、2007年
    • Leon Battista Alberti
      Birth name Leon Battista Alberti
      Born February 18, 1404
      Genoa, Italy
      Died April 20, 1472 (aged 68)
      Rome
      Nationality Italian
      Field Architecture, Linguistics, Poetry
      Movement Italian Renaissance
      Works Tempio Malatestiano, Palazzo Rucellai, Santa Maria Novella
      Leon Battista Alberti[1] (February 18, 1404 – April 20, 1472) was an Italian author, artist, architect, poet, priest, linguist, philosopher, cryptographer and general Renaissance humanist polymath. Although he is often characterized as an "architect" exclusively, as James Beck has observed,[2] "to single out one of Leon Battista's 'fields' over others as somehow functionally independent and self-sufficient is of no help at all to any effort to characterize Alberti's extensive explorations in the fine arts." Alberti's life was described in Giorgio Vasari's Vite de' più eccellenti pittori, scultori, e architettori or 'Lives of the most excellent painters, sculptors and architects'.
      Contents

      Childhood and education

      An Italian humanist, Alberti is often seen as a model of the Renaissance "universal man".[3] He was born in Genoa, one of two illegitimate sons of a wealthy Florentine merchant, Lorenzo Alberti. Leon Battista's mother, Bianca Fieschi, was a Bolognese widow who died during an outbreak of bubonic plague. Like many other families, the Albertis had been expelled from their native city, Florence, by the republican government, run by the Albizzis. At the time of Leon Battista's birth, his father Lorenzo lived in Genoa, but the family soon moved to Venice, where Lorenzo ran the family bank with his brother. Lorenzo married again in 1408. The ban on the family was lifted in 1428, and that same year Leon visited Florence for the first time.
      Alberti received the best education then available to an Italian nobleman. From around 1414 to 1418 he studied classics at the famous school of Gasparino Barzizza in Padua. He then completed his education at the University of Bologna, where he studied law. In his youth, according to stories, Alberti could—with his feet together—jump over a man's head, he was a superb horseman, and he "learned music without a master, and yet his compositions were admired by professional judges." [4]
      After the death of his father, Alberti was supported by his uncles. In his twenties Alberti wrote On the Advantages and Disadvantages of Letters, which he dedicated to his brother Carlo, also a scholar and writer. Alberti's Latin comedy, Philodoxus, aimed to teach that "a man dedicated to study and hard work can attain glory, just as well as a rich and fortunate man." For a short time it was passed as a genuinely antique Roman play. Like Petrarch, who had been the first famous philologist to study the works of the ancient Roman poets, Alberti loved classics, but he compared continual reading and rereading in libraries. Later he also complained, that "the learned don't become rich, or if they do become rich from literary pursuits, the sources of their wealth are shameful." Other early works, Amator (ca. 1429), Ecatonfilea (ca. 1429), and Deiphira (ca. 1429–1434), dealt with love, virtues, and failed relationships.

      Study of perspective

      Alberti regarded mathematics as the common ground of art and the sciences. "To make clear my exposition in writing this brief commentary on painting," Alberti began his treatise, Della Pittura (On Painting), "I will take first from the mathematicians those things with which my subject is concerned." [5]
      This treatise (Della pittura ) was also known in Latin as De Pictura, and it relied in its scientific content on classical optics in determining perspective as a geometric instrument of artistic and architectural representation. Alberti was well-versed in the sciences of his age. His knowledge of optics was connected to the handed-down long-standing tradition of the Kitab al-manazir (The Optics; De aspectibus) of the Arab polymath Alhazen (Ibn al-Haytham, d. ca. 1041), which was mediated by Franciscan optical workshops of the 13th-century Perspectivae traditions of scholars such as Roger Bacon, John Peckham and Witelo (similar influences are also traceable in the third commentary of Lorenzo Ghiberti, Commentario terzo).[6]
      In both Della pittura and De statua, a short treatise on sculpture, Alberti stressed that "all steps of learning should be sought from nature."[7] The ultimate aim of an artist is to imitate nature. Painters and sculptors strive "through by different skills, at the same goal, namely that as nearly as possible the work they have undertaken shall appear to the observer to be similar to the real objects of nature."[7] However, Alberti did not mean that artists should imitate nature objectively, as it is, but the artist should be especially attentive to beauty, "for in painting beauty is as pleasing as it is necessary."[7] The work of art is, according to Alberti, so constructed that it is impossible to take anything away from it or add anything to it, without impairing the beauty of the whole. Beauty was for Alberti "the harmony of all parts in relation to one another," and subsequently "this concord is realized in a particular number, proportion, and arrangement demanded by harmony." Alberti's thoughts on harmony were not new—they could be traced back to Pythagoras—but he set them in a fresh context, which fit in well with the contemporary aesthetic discourse.
      In Rome, Alberti had plenty of time to study its ancient sites, ruins, and objects. His detailed observations, included in his De Re Aedificatoria (1452, Ten Books of Architecture),[8] were patterned after the De architectura by the Roman architect and engineer Vitruvius (fl. 46-30 B.C.). The work was the first architectural treatise of the Renaissance. It covered a wide range of subjects, from history to town planning, and engineering to the philosophy of beauty. De re aedificatoria, a large and expensive book, was not fully published until 1485, after which it became a major reference for architects.[9] However, the book was written "not only for craftsmen but also for anyone interested in the noble arts," as Alberti put it.[citation needed] Originally published in Latin, the first Italian edition came out in 1546. and the standard Italian edition by Cosimo Bartoli was published in 1550. Pope Nicholas V, to whom Alberti dedicated the whole work, dreamed of rebuilding the city of Rome, but he managed to realize only a fragment of his visionary plans. Through his book, Alberti opened up his theories and ideals of the Florentine Renaissance to architects, scholars and others.
      Alberti wrote I Libri della famiglia—which discussed education, marriage, household management, and money—in the Tuscan dialect. The work was not printed until 1843. Like Erasmus decades later, Alberti stressed the need for a reform in education. He noted that "the care of very young children is women's work, for nurses or the mother," and that at the earliest possible age children should be taught the alphabet.[7] With great hopes, he gave the work to his family to read, but in his autobiography Alberti confesses that "he could hardly avoid feeling rage, moreover, when he saw some of his relatives openly ridiculing both the whole work and the author's futile enterprise along it."[7] Momus, written between 1443 and 1450, was a misogynist comedy about the Olympian gods. It has been considered as a roman à clef—Jupiter has been identified in some sources as Pope Eugenius IV and Pope Nicholas V. Alberti borrowed many of its characters from Lucian, one of his favorite Greek writers. The name of its hero, Momus, refers to the Greek word for blame or criticism. After being expelled from heaven, Momus, the god of mockery, is eventually castrated. Jupiter and the other gods come down to earth also, but they return to heaven after Jupiter breaks his nose in a great storm.

      Architectural works


      Palazzo Rucellai
      For the Rucellai[10] family in Florence Alberti designed several buildings, the façade of Palazzo Rucellai, executed by Bernardo Rosselino, the façade of Santa Maria Novella, the marble-clad shrine of the Holy Sepulchre, and perhaps also the Capella Rucellai.
      Some dates vary from source to source; these come from Franco Borsi. Leon Battista Alberti. (New York: Harper & Row,1977)

      Other works and legacy


      Late statue of Leon Battista Alberti. Courtyard of the Uffizi Gallery, Florence
      Among Alberti's smaller studies, pioneering in their field, were a treatise in cryptography, De componendis cifris, and the first Italian grammar. With the Florentine cosmographer Paolo Toscanelli he collaborated in astronomy, a close science to geography at that time, and produced a small Latin work on geography, Descriptio urbis Romae (The Panorama of the City of Rome). Just a few years before his death, Alberti completed De iciarchia (On Ruling the Household), a dialogue about Florence during the Medici rule. Alberti died on April 25, 1472 in Rome.
      As an artist, Alberti distinguished himself from the ordinary craftsman, educated in workshops. He was a humanist, and part of the rapidly expanding entourage of intellectuals and artisans supported by the courts of the princes and lords of the time. Alberti, as a member of noble family and as part of the Roman curia, had special status. He was a welcomed guest at the Este court in Ferrara, and in Urbino he spent part of the hot-weather season with the soldier-prince Federico III da Montefeltro.[citation needed] The Duke of Urbino was a shrewd military commander, who generously spent money on the patronage of art. Alberti planned to dedicate his treatise on architecture to his friend.[citation needed]
      Giorgio Vasari, who argued that historical progress in art reached its peak in Michelangelo, emphasized Alberti's scholarly achievements, not his artistic talents: "He spent his time finding out about the world and studying the proportions of antiquities; but above all, following his natural genius, he concentrated on writing rather than on applied work." (from Lives of the Artists).[citation needed] Leonardo, who ironically called himself "an uneducated person" (omo senza lettere), followed Alberti in the view that painting is science. However, as a scientist Leonardo was more empirical than Alberti, who was a theorist and did not have similar interest in practice. Alberti believed in ideal beauty, but Leonardo filled his notebooks with observations on human proportions, page after page, ending with the famous drawing on the Vitruvian man, a human figure related to a square and a circle.
      "We painters," said Alberti in On Painting, but as a painter, or sculptor, Alberti was a dilettante. "In painting Alberti achieved nothing of any great importance or beauty," wrote Vasari.[citation needed] "The very few paintings of his that are extant are far from perfect, but this is not surprising since he devoted himself more to his studies than to draughtsmanship." Jacob Burckhardt portrayed Alberti in The Civilization of the Renaissance in Italy as a truly universal genius. "And Leonardo da Vinci was to Alberti as the finisher to the beginner, as the master to the dilettante. Would only that Vasari's work were here supplemented by a description like that of Alberti! The colossal outlines of Leonardo's nature can never be more than dimly and distantly conceived."[4] Burckhardt also mentions Alberti's love for animals. He had a pet dog, a mongrel, for whom he wrote a panegyric, Canis).[citation needed]
      Alberti is said to be in Mantegna's great frescoes in the Camera degli Sposi, the older man dressed in dark red clothes, who whispers in the ear of Ludovico Gonzaga, the ruler of Mantua.[citation needed] In Alberti's self-portrait, a large plaquette, he is clothed as a Roman. To the left of his profile is a winged eye. On the reverse side is the question, Quid tum? (what then), taken from Virgil's Eclogues: "So what, if Amyntas is dark? (quid tum si fuscus Amyntas?) Violets are black, and hyacinths are black."[citation needed]

      Contributions

      Alberti made a variety of contributions to several fields:
      • Alberti was the creator of a theory called "historia". In his treatise De pictura (1435) he explains the theory, of the accumulation of people, animals, and buildings, which create harmony amongst each other, and "hold the eye of the learned and unlearned spectator for a long while with a certain sense of pleasure and emotion". De pictura ("On Painting") contained the first scientific study of perspective. An Italian translation of De pictura (Della pittura) was published in 1436, one year after the original Latin version and addressed Filippo Brunelleschi in the preface. The Latin version had been dedicated to Alberti's humanist patron, Gianfrancesco Gonzaga of Mantua. He also wrote works on sculpture, De Statua.
      • Alberti used his artistic treatises to propound a new humanistic theory of art. He drew on his contacts with early Quattrocento artists such as Brunelleschi and Masaccio to provide a practical handbook for the renaissance artist.
      • Alberti wrote an influential work on architecture, De Re Aedificatoria, which by the 18th century had been translated into Italian, French, Spanish and English. An English translation was by Giacomo Leoni in the early 18th century. Newer translations are now available.
      • Whilst Alberti's treatises on painting and architecture have been hailed as the founding texts of a new form of art, breaking from the gothic past, it is impossible to know the extent of their practical impact within his lifetime. His praise of the Calumny of Apelles led to several attempts to emulate it, including paintings by Botticelli and Signorelli. His stylistic ideals have been put into practice in the works of Mantegna, Piero della Francesca and Fra Angelico. But how far Alberti was responsible for these innovations and how far he was simply articulating the trends of the artistic movement, with which his practical experience had made him familiar, is impossible to ascertain.
      • He was so skilled in Latin verse that a comedy he wrote in his twentieth year, entitled Philodoxius, would later deceive the younger Aldus Manutius, who edited and published it as the genuine work of 'Lepidus Comicus'.
      • He has been credited with being the author, or alternatively the designer, of the woodcut illustrations of the Hypnerotomachia Poliphili, a strange fantasy novel.[11]

      Facade of Santa Maria Novella.
      • He took great interest in studying the ruins of classical architecture in Rome and elsewhere. At Rome he was employed by Pope Nicholas V in the restoration of the papal palace and of the restoration of the Roman aqueduct of Acqua Vergine, which debouched into a simple basin designed by Alberti, which was swept away later by the Baroque Trevi Fountain. At Mantua he designed the church of Sant'Andrea, and at Rimini the church of San Francesco. On a commission from the Rucellai family he completed the principal facade of the church of Santa Maria Novella in Florence which had been begun in the previous century. He also built the facade for the family palace in the Via della Vigna Nuova, known as the Palazzo Rucellai, though it is not exactly clear what his role as designer was.
      • Alberti is also now thought to have had an important role in the designing of Pienza, a village that had been called Corsignano, but which was redesigned beginning around 1459. It was the birthplace of Aeneas Silvius Piccolomini, Pope Pius II, in whose employ Alberti served. Pius II wanted to use the village as a retreat but needed for it to reflect the dignity of his position. The design, which radically transformed the center of the town, included a palace for the pope, a church, a town hall and a building for the bishops who would accompany the Pope on his trips. Pienza is considered an early example of Renaissance urban planning.
      • Some studies[12] propose that the Villa Medici in Fiesole might owe its design to Alberti, not to Michelozzo, and that it then became the prototype of the Renaissance villa. Maybe also that this hilltop dwelling, commissioned by Giovanni de' Medici, Cosimo il Vecchio's second son, with its view over the city, is the very first example of a Renaissance villa: that is to say it follows the Albertian criteria for rendering a country dwelling a "villa suburbana". Under this perspective the Villa Medici in Fiesole could therefore be considered the "muse" for numerous other buildings, not only in the Florence area, which from the end of the 15th century onwards find inspiration and creative innovation here.
      • Apart from his treatises on the arts, Alberti also wrote: Philodoxus ("Lover of Glory", 1424), De commodis litterarum atque incommodis ("On the Advantages and Disadvantages of Literary Studies", 1429), Intercoenales ("Table Talk", ca. 1429), Della famiglia ("On the Family", begun 1432) Vita S. Potiti ("Life of St. Potitus", 1433), De iure (On Law, 1437), Theogenius ("The Origin of the Gods", ca. 1440), Profugorium ab aerumna ("Refuge from Mental Anguish",), Momus (1450) and De Iciarchia ("On the Prince", 1468).These and other works were translated and printed in Venice by the humanist Cosimo Bartoli in 1586.
      • Alberti was an accomplished cryptographer by the standard of his day, and invented the first polyalphabetic cipher which is now known as the Alberti cipher and machine-assisted encryption using his Cipher Disk. The polyalphabetic cipher was, at least in principle, for it was not properly used for several hundred years, the most significant advance in cryptography since before Julius Caesar's time. Cryptography historian David Kahn titles him the "Father of Western Cryptography", pointing to three significant advances in the field which can be attributed to Alberti: "the earliest Western exposition of cryptanalysis, the invention of polyalphabetic substitution, and the invention of enciphered code" (David Kahn (1967). The codebreakers: the story of secret writing. New York: MacMillan.).
      • According to Alberti himself, in a short autobiography written c. 1438 in Latin and in the third person, (many but not all scholars consider this work to be an autobiography) he was capable of "standing with his feet together, and springing over a man's head." The autobiography survives thanks to an 18th century transcription by Antonio Muratori. Alberti also claimed that he "excelled in all bodily exercises; could, with feet tied, leap over a standing man; could in the great cathedral, throw a coin far up to ring against the vault; amused himself by taming wild horses and climbing mountains." Needless to say, many in the Renaissance promoted themselves in various ways and Alberti's eagerness to promote his skills should be understood, to some extent, within that framework. (This advice should be followed in reading the above information, some of which originates in this so-called autobiography.)
      • Alberti claimed in his "autobiography" to be an accomplished musician and organist, but there is no hard evidence to support this claim. In fact, musical posers were not uncommon in his day (see the lyrics to the song Musica Son, by Francesco Landini, for complaints to this effect.) He held the appointment of canon in the metropolitan church of Florence, and thus – perhaps – had the leisure to devote himself to this art, but this is only speculation. Vasari also agreed with this.
      • He was also interested in the drawing of maps and worked with the astronomer, astrologer, and cartographer Paolo Toscanelli.

      Works

      • "Leon Battista Alberti. On Painting. A New Translation an Critical Edition", Edited and Translated by Rocco Sinisgalli,
      Cambridge University Press, New York, May 2011, ISBN 978-1-107-00062-9
      • Leon Battista Alberti. On Painting. A New Translation an Critical Edition, Edited and Translated by Rocco Sinisgalli,
      Cambridge University Press, New York, May 2011, ISBN 978-1-107-00062-9

      Bibliography

      References

      1. ^ In Italy, this first name is usually spelled "Leone", but Alberti is known as Leon.
      2. ^ James Beck, "Leon Battista Alberti and the 'Night Sky' at San Lorenzo", Artibus et Historiae 10, No. 19 (1989:9–35), p. 9.
      3. ^ See Kelly-Gadol, Joan. Leon Battista Alberti. Universal Man of the Renaissance. University of Chicago Press, 1969;
      4. ^ a b Jacob Burckhard in The Civilization of the Renaissance Italy, 2.1, 1860.
      5. ^ Leone Battista Alberti, On Painting, editor John Richard Spencer, 1956, p. 43.
      6. ^ Nader El-Bizri, "A Philosophical Perspective on Alhazen’s Optics," Arabic Sciences and Philosophy, vol. 15, issue 2 (2005), pp. 189–218 (Cambridge University Press).
      7. ^ a b c d e Books and Writing website – http://www.kirjasto.sci.fi/alberti.htm
      8. ^ Alberti,Leon Battista. On the Art of Building in Ten Books. Trans. Leach, N., Rykwert, J., & Tavenor, R. Cambridge: The MIT Press, 1988
      9. ^ Center for Palladian Studies in America, Inc., Palladio's Literary Predecessors
      10. ^ Further information on the Rucellai family can be found on the Italian Wikipedia article
      11. ^ Liane Lefaivre, Leon Battista Alberti's Hypnerotomachia Poliphili, Cambridge: MIT Press, 1997
      12. ^ D. Mazzini, S. Simone, Villa Medici a Fiesole. Leon Battista Alberti e il prototipo di villa rinascimentale, Centro Di, Firenze 2004

      External links


      Read more: http://www.answers.com/topic/leone-battista-alberti#ixzz1vE5uu1C3
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    •   Italian family of artists. They came from Borgo San Sepolcro (now Sansepolcro, Tuscany), a town set on one of the crossroads between Tuscany, the Marches and Umbria, and flourished primarily in the 16th century, when the family workshop grew in size and several members achieved prominence in the visual arts. Alberto [Berto III] Alberti (b 2 June 1525; d 1598) worked in Borgo San Sepolcro and Rome primarily as a wood-carver but also as a painter, military engineer and cartographer, and left detailed diaries and account books covering 50 years of his family's activities.
      The following members have entries:
    • Alessandro Alberti
    • Cherubino Alberti
    • Giovanni Alberti
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