Artists on Art Leon Battista Albertiã¢ââ¢s on the Art of Building

Italian architect and author (1404-1472)

Leon Battista Alberti
Presumed self-portrait of Leon Battista Alberti
Built-in	14 February 1406 Genoa, Republic of Genoa
Died	25 Apr 1472(1472-04-25) (aged 66) Rome, Papal States
Nationality	Italian
Known for	Architecture, linguistics, poetry
Notable piece of work	Tempio Malatestiano, Palazzo Rucellai, Santa Maria Novella
Motion	Italian Renaissance

Leon Battista Alberti (Italian: [leˈom batˈtista alˈbɛrti]; 14 Feb 1406 – 25 April 1472) was an Italian Renaissance humanist writer, artist, architect, poet, priest, linguist, philosopher, and cryptographer; he epitomised the nature of those identified now as polymaths. He is considered the founder of Western cryptography, a claim he shares with Johannes Trithemius.^[1] ^[2]

Although he often is characterized exclusively as an builder, as James Brook has observed,^[3] "to single out 1 of Leon Battista'due south 'fields' over others as somehow functionally independent and self-sufficient is of no help at all to any effort to characterize Alberti's all-encompassing explorations in the fine arts". Although Alberti is known generally for being an artist, he was also a mathematician of many sorts and made great advances to this field during the fifteenth century.^[4] The two virtually important buildings he designed are the churches of San Sebastiano (1460) and Sant'Andrea (1472), both in Mantua.^[5]

Alberti's life was described in Giorgio Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects.

Biography [edit]

Early on life [edit]

A portrait of Alberti by Filippino Lippi is thought to exist in the Brancacci Chapel, as role of Lippi'south completion of the Masaccio painting, the Raising of the Son of Theophilus and St. Peter Enthroned

Leon Battista Alberti was born in 1406 in Genoa. His female parent was Bianca Fieschi. His father, Benedetto Alberti, was a wealthy Florentine who had been exiled from his own city, merely immune to render in 1428. Alberti was sent to boarding school in Padua, then studied police at Bologna.^[6] ^[vii] He lived for a time in Florence, so in 1431 travelled to Rome, where he took holy orders and entered the service of the papal court.^[viii] During this time he studied the ancient ruins, which excited his interest in compages and strongly influenced the form of the buildings that he designed.^[viii]

Alberti was gifted in many ways. He was tall, strong, and a fine athlete who could ride the wildest equus caballus and jump over a person's caput.^[9] He distinguished himself every bit a writer while still a kid at school, and by the age of twenty had written a play that was successfully passed off as a 18-carat piece of Classical literature.^[7] In 1435 he began his first major written work, Della pittura, which was inspired by the burgeoning pictorial art in Florence in the early fifteenth century. In this piece of work he analysed the nature of painting and explored the elements of perspective, composition, and color.^[8]

In 1438 he began to focus more than on compages and was encouraged past the Marchese Leonello d'Este of Ferrara, for whom he built a small-scale triumphal arch to support an equestrian statue of Leonello's father.^[vii] In 1447 Alberti became architectural advisor to Pope Nicholas 5 and was involved in several projects at the Vatican.^[7]

Starting time major committee [edit]

His commencement major architectural committee was in 1446 for the facade of the Rucellai Palace in Florence. This was followed in 1450 by a commission from Sigismondo Malatesta to transform the Gothic church of San Francesco in Rimini into a memorial chapel, the Tempio Malatestiano.^[8] In Florence, he designed the upper parts of the facade for the Dominican church of Santa Maria Novella, famously bridging the nave and lower aisles with two ornately inlaid scrolls, solving a visual problem and setting a precedent to be followed by architects of churches for four hundred years.^[10] In 1452, he completed De re aedificatoria, a treatise on architecture, using as its basis the work of Vitruvius and influenced by the archaeological remains of Rome. The work was not published until 1485. It was followed in 1464 past his less influential piece of work, De statua, in which he examines sculpture.^[8] Alberti's only known sculpture is a self-portrait medallion, sometimes attributed to Pisanello.

Alberti was employed to design two churches in Mantua, San Sebastiano, which was never completed and for which Alberti's intention can only be speculated upon, and the Basilica of Sant'Andrea. The design for the latter church was completed in 1471, a twelvemonth before Alberti'south death, but was brought to completion and is his nearly significant work.^[10]

Alberti equally creative person [edit]

As an artist, Alberti distinguished himself from the ordinary craftsman educated in workshops. He was a humanist who followed Aristotle and Plotinus, and role of the rapidly expanding entourage of intellectuals and artisans supported by the courts of the princes and lords of the time. Equally a member of noble family and as part of the Roman curia, Alberti had special status. He was a welcomed invitee at the Este court in Ferrara, and in Urbino he spent part of the hot-weather flavor with the soldier-prince Federico III da Montefeltro. The Knuckles 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.^[ix]

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 he 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 almost Florence during the Medici dominion.

Having taken holy orders, Alberti never married. He loved animals and had a pet dog, a mongrel, for whom he wrote a panegyric, (Canis).^[9] Vasari describes Alberti as "an admirable citizen, a human of culture... a friend of talented men, open and courteous with everyone. He e'er lived honourably and like the admirer he was."^[11] Alberti died in Rome on 25 Apr 1472 at the age of 66.

Publications [edit]

Alberti regarded mathematics as a starting indicate for the word 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) that he dedicated to Brunelleschi, "I will take showtime from the mathematicians those things with which my subject is concerned."^[12]

Della pittura (also known in Latin as De Pictura) relied on its scientific content on classical eyes in determining perspective as a geometric instrument of creative and architectural representation. Alberti was well-versed in the sciences of his age. His knowledge of eyes was continued 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. c. 1041), which was mediated by Franciscan optical workshops of the thirteenth-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).^[13]

English championship page of the first edition of Giacomo Leoni's translation of Alberti's De Re Aedificatoria (1452) - the book is bilingual, with the Italian version being printed on the left and the English version printed on the right

In both Della pittura and De statua, Alberti stressed that "all steps of learning should exist sought from nature".^[fourteen] The ultimate aim of an artist is to imitate nature. Painters and sculptors strive "through by dissimilar skills, at the same goal, namely that as virtually every bit possible the work they have undertaken shall announced to the observer to exist similar to the real objects of nature".^[14] Nevertheless, Alberti did not mean that artists should imitate nature objectively, equally it is, merely the artist should be especially attentive to beauty, "for in painting dazzler is equally pleasing as information technology is necessary".^[14] The work of fine art is, according to Alberti, so constructed that it is impossible to have anything abroad from it or to add together 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 hold is realized in a particular number, proportion, and arrangement demanded by harmony". Alberti'due south thoughts on harmony were not new—they could be traced back to Pythagoras—only he gear up 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, On the Art of Building),^[15] were patterned after the De architectura past the Roman builder and engineer Vitruvius (fl. 46–thirty BC). The work was the starting time architectural treatise of the Renaissance. Information technology covered a broad range of subjects, from history to boondocks planning, and applied science to the philosophy of beauty. De re aedificatoria, a large and expensive book, was not fully published until 1485, afterward which it became a major reference for architects.^[16] Notwithstanding, the book was written "not only for craftsmen but likewise for anyone interested in the noble arts", equally Alberti put information technology.^[xv] Originally published in Latin, the showtime 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, simply he managed to realize only a fragment of his visionary plans. Through his volume, 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, spousal relationship, household management, and money—in the Tuscan dialect. The piece of work was not printed until 1843. Similar Erasmus decades later, Alberti stressed the need for a reform in educational activity. He noted that "the intendance of very young children is women's work, for nurses or the female parent", and that at the earliest possible age children should be taught the alphabet.^[14] With neat 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 piece of work and the author's futile enterprise forth it".^[14] Momus, written between 1443 and 1450, was a notable comedy about the Olympian deities. It has been considered every bit a roman à clef—Jupiter has been identified in some sources as Pope Eugenius Four and Pope Nicholas Five. 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 beingness expelled from heaven, Momus, the god of mockery, is eventually castrated. Jupiter and the other deities come down to earth too, simply they return to sky after Jupiter breaks his nose in a not bad storm.

Architectural works [edit]

The dramatic facade of Sant' Andrea, Mantua, (1471) built to Alberti'due south pattern after his expiry

The unfinished and altered facade of San Sebastiano has promoted much speculation as to Alberti'southward intentions.

Alberti did not concern himself with the practicalities of building, and very few of his major works were brought to completion. Every bit a designer and a student of Vitruvius and of ancient Roman remains, he grasped the nature of column and lintel architecture, from the visual rather than structural viewpoint, and correctly employed the Classical orders, unlike his contemporary, Brunelleschi, who used the Classical column and pilaster in a gratis interpretation. Among Alberti'southward concerns was the social effect of architecture, and to this finish he was very well aware of the cityscape.^[10] This is demonstrated by his inclusion, at the Rucellai Palace, of a continuous bench for seating at the level of the basement. Alberti anticipated the principle of street hierarchy, with broad master streets connected to secondary streets, and buildings of equal height.^[17]

In Rome he was employed by Pope Nicholas Five for the restoration of the Roman channel of Acqua Vergine, which debouched into a simple basin designed by Alberti, which was swept abroad later past the Baroque Trevi Fountain.

In some studies,^[18] the authors propose that the Villa Medici in Fiesole might owe its blueprint to Alberti, not to Michelozzo, and that it and then became the prototype of the Renaissance villa. This hilltop dwelling, deputed by Giovanni de' Medici, Cosimo il Vecchio'due south second son, with its view over the city, may be the very outset case of a Renaissance villa: that is to say it follows the Albertian criteria for rendering a country home a "villa suburbana". Under this perspective the Villa Medici in Fiesole could therefore be considered the "muse" for numerous other buildings, non just in the Florence area, which from the end of the fifteenth century onward find inspiration and creative innovation from it.

Tempio Malatestiano, Rimini [edit]

The Tempio Malatestiano in Rimini (1447, 1453–60)^[19] is the rebuilding of a Gothic church. The facade, with its dynamic play of forms, was left incomplete.^[ten]

Façade of Palazzo Rucellai [edit]

The design of the façade of the Palazzo Rucellai (1446–51) was one of several commissions for the Rucellai family.^[19] The design overlays a grid of shallow pilasters and cornices in the Classical manner onto rusticated masonry, and is surmounted by a heavy cornice. The inner courtyard has Corinthian columns. The palace gear up a standard in the use of Classical elements that is original in civic buildings in Florence, and greatly influenced afterward palazzi. The piece of work was executed past Bernardo Rosselino.^[10]

Tempio Malatestiano, Rimini

Santa Maria Novella [edit]

At Santa Maria Novella, Florence, between (1448–70)^[19] the upper facade was constructed to the design of Alberti. It was a challenging task, as the lower level already had three doorways and half dozen Gothic niches containing tombs and employing the polychrome marble typical of Florentine churches, such every bit San Miniato al Monte and the Baptistery of Florence. The blueprint likewise incorporates an ocular window that was already in place. Alberti introduced Classical features around the portico and spread the polychromy over the entire facade in a mode that includes Classical proportions and elements such as pilasters, cornices, and a pediment in the Classical style, ornamented with a sunburst in tesserae, rather than sculpture. The all-time known feature of this typically aisled church is the mode in which Alberti has solved the trouble of visually bridging the different levels of the central nave and much lower side aisles. He employed two large scrolls, which were to get a standard feature of church facades in the later Renaissance, Baroque, and Classical Revival buildings.^[10]

Pienza [edit]

Piazza Pio Two in Pienza, looking toward the Palazzo Piccolomini

Alberti is considered to have been the consultant for the blueprint of the Piazza Pio Two, Pienza. The village, previously called Corsignano, was redesigned commencement around 1459.^[19] It was the birthplace of Aeneas Silvius Piccolomini, Pope Pius II, in whose use Alberti served. Pius 2 wanted to utilize the hamlet equally a retreat, but needed for it to reflect the nobility of his position.

The piazza is a trapezoid shape defined by 4 buildings, with a focus on Pienza Cathedral and passages on either side opening onto a landscape view. The principal residence, Palazzo Piccolomini, is on the western side. It has 3 stories, articulated by pilasters and entablature courses, with a twin-lighted cantankerous window prepare within each bay. This construction is like to Alberti's Palazzo Rucellai in Florence and other afterward palaces. Noteworthy is the internal court of the palazzo. The back of the palace, to the s, is defined by loggia on all three floors that overlook an enclosed Italian Renaissance garden with Giardino all'italiana era modifications, and spectacular views into the distant landscape of the Val d'Orcia and Pope Pius'southward dear Mount Amiata beyond. Beneath this garden is a vaulted stable that had stalls for a hundred horses. The blueprint, 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 instance of Renaissance urban planning.

Sant' Andrea, Mantua [edit]

The Basilica of Sant'Andrea, Mantua was begun in 1471,^[xix] the year before Alberti'southward death. It was brought to completion and is his well-nigh significant work employing the triumphal arch motif, both for its facade and interior, and influencing many works that were to follow.^[10] Alberti perceived the role of architect as designer. Unlike Brunelleschi, he had no interest in the structure, leaving the practicalities to builders and the oversight to others.^[10]

Other buildings [edit]

San Sebastiano, Mantua, (begun 1458)^[19] the unfinished facade of which has promoted much speculation every bit to Alberti'south intention ^[x]
Sepolcro Rucellai in San Pancrazio, 1467)^[nineteen]
The Tribune for Santissima Annunziata, Florence (1470, completed with alterations, 1477)^[19]

Painting [edit]

Giorgio Vasari, who argued that historical progress in fine art reached its peak in Michelangelo, emphasized Alberti's scholarly achievements, not his artistic talents: "He spent his time finding out near the globe and studying the proportions of antiquities; but above all, post-obit his natural genius, he concentrated on writing rather than on applied work."^[11] Leonardo, who ironically called himself "an uneducated person" (omo senza lettere), followed Alberti in the view that painting is science. However, equally a scientist, Leonardo was more than empirical than Alberti, who was a theorist and did not have similar interest in exercise. Alberti believed in platonic beauty, but Leonardo filled his notebooks with observations on human proportions, page later on folio, ending with his famous drawing of the Vitruvian human being, a human figure related to a square and a circumvolve.

In On Painting, Alberti uses the expression "We Painters", simply equally a painter, or sculptor, he was a dilettante. "In painting Alberti achieved aught of whatever corking importance or beauty", wrote Vasari.^[eleven] "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, every bit the master to the dilettante. Would but that Vasari's work were here supplemented by a description like that of Alberti! The colossal outlines of Leonardo'south nature can never exist more than dimly and distantly conceived."^[9]

Alberti is said to appear in Mantegna's great frescoes in the Camera degli Sposi, every bit the older homo dressed in dark cerise clothes, who whispers in the ear of Ludovico Gonzaga, the ruler of Mantua.^[20] In Alberti'south self-portrait, a large plaquette, he is clothed equally a Roman. To the left of his profile is a winged eye. On the opposite side is the question, Quid breadbasket? (what and then), taken from Virgil'south Eclogues: "So what, if Amyntas is dark? (quid tum si fuscus Amyntas?) Violets are blackness, and hyacinths are black."^[21]

Contributions [edit]

Alberti fabricated a variety of contributions to several fields:

Alberti was the creator of a theory chosen "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 "agree 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 get-go scientific study of perspective. An Italian translation of De pictura (Della pittura) was published in 1436, i yr after the original Latin version and addressed Filippo Brunelleschi in the preface. The Latin version had been dedicated to Alberti'south humanist patron, Gianfrancesco Gonzaga of Mantua. He besides wrote works on sculpture, De statua.
Alberti used his creative treatises to propound a new humanistic theory of art. He drew on his contacts with early Quattrocento artists such as Brunelleschi, Donatello, and Ghiberti to provide a applied handbook for the renaissance artist.
Alberti wrote an influential work on compages, De re aedificatoria, which by the sixteenth century had been translated into Italian (by Cosimo Bartoli), French, Spanish, and English. An English translation was by Giacomo Leoni in the early eighteenth 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 by, 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 ethics have been put into exercise 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 only articulating the trends of the artistic motility, with which his applied experience had made him familiar, is incommunicable 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'.

One of the giant scrolls at Santa Maria Novella

He has been credited with being the author, or alternatively, the designer of the woodcut illustrations, of the Hypnerotomachia Poliphili, a strange fantasy novel.^[22]
Autonomously from his treatises on the arts, Alberti also wrote: Philodoxus ("Lover of Celebrity", 1424), De commodis litterarum atque incommodis ("On the Advantages and Disadvantages of Literary Studies", 1429), Intercoenales ("Table Talk", c. 1429), Della famiglia ("On the Family", begun 1432), Vita S. Potiti ("Life of St. Potitus", 1433), De iure (On Police, 1437), Theogenius ("The Origin of the Gods", c. 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 twenty-four hours and invented the outset polyalphabetic cipher, which is at present known as the Alberti cipher, and machine-assisted encryption using his Zip Disk. The polyalphabetic cipher was, at to the lowest degree in principle (for it was not properly used for several hundred years) the most significant advance in cryptography since earlier Julius Caesar's time. Cryptography historian David Kahn entitles him the "Father of Western Cryptography", pointing to three significant advances in the field that tin 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 hole-and-corner writing . New York: MacMillan.
According to Alberti, in a short autobiography written c. 1438 in Latin and in the third person, (many simply non all scholars consider this work to be an autobiography) he was capable of "continuing with his feet together, and springing over a man's head." The autobiography survives thanks to an eighteenth-century transcription by Antonio Muratori. Alberti besides claimed that he "excelled in all bodily exercises; could, with anxiety tied, leap over a standing man; could in the cracking cathedral, throw a coin far up to band 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 in a higher place data, some of which originates in this then-called autobiography.)
Alberti claimed in his "autobiography" to exist an achieved musician and organist, merely there is no hard show to support this merits. In fact, musical posers were non uncommon in his day (see the lyrics to the song Musica Son, by Francesco Landini, for complaints to this consequence.) He held the appointment of canon in the metropolitan church of Florence, and thus – perhaps – had the leisure to devote himself to this fine art, but this is only speculation. Vasari besides agreed with this.^[11]
He was interested in the drawing of maps and worked with the astronomer, astrologer, and cartographer Paolo Toscanelli.
In terms of Aesthetics Alberti is one of the first defining the work of art equally imitation of nature, exactly as a selection of its most beautiful parts: "So let's take from nature what nosotros are going to paint, and from nature we choose the most beautiful and worthy things".^[23]

Works in print [edit]

A window of the Rucellai Palace

De Pictura, 1435. On Painting, in English, De Pictura, in Latin, On Painting. Penguin Classics. 1972. ISBN978-0-fourteen-043331-9. ; Della Pittura, in Italian (1804 [1434]).
Momus, Latin text and English translation, 2003 ISBN 0-674-00754-9
De re aedificatoria (1452, Ten Books on Compages). Alberti, Leon Battista. De re aedificatoria. On the fine art of building in ten books. (translated by Joseph Rykwert, Robert Tavernor and Neil Leach). Cambridge, Mass.: MIT Press, 1988. ISBN 0-262-51060-Ten. ISBN 978-0-262-51060-eight. Latin, French and Italian editions and in English translation.
De Cifris A Treatise on Ciphers (1467), trans. A. Zaccagnini. Foreword past David Kahn, Galimberti, Torino 1997.
Della tranquillitá dell'animo. 1441.
"Leon Battista Alberti. On Painting. A New Translation an Critical Edition", Edited and Translated by Rocco Sinisgalli, Cambridge Academy Press, New York, May 2011, ISBN 978-1-107-00062-9, (books.google.de)
I libri della famiglia, Italian edition^[24]
"Dinner pieces". A Translation of the Intercenales by David Marsh. Heart for Medieval and Early Renaissance Studies, Country University of New York, Binghamton 1987.
"Descriptio urbis Romae. Leon Battista Alberti's Delineation of the city of Rome". Peter Hicks, Arizona Lath of Regents for Arizona State academy 2007.

Legacy [edit]

Borsi states that Alberti'south writings on architecture continue to influence modernistic and contemporary architecture stating: "The organicism and nature-worship of Wright, the neat classicism of van der Mies, the regulatory outlines and anthropomorphic, harmonic, modular systems of Le Corbusier, and Kahn'due south revival of the 'antique' are all elements that tempt one to trace Alberti's influence on modern architecture."^[25]

In popular civilisation [edit]

Leon Battista Alberti is a major grapheme in Roberto Rossellini's three-part television motion-picture show The Age of the Medici (1973), with the tertiary and terminal function, Leon Battista Alberti: Humanism, centering on him, his works (such as Santa Maria Novella), and his thought. He is played by Italian actor Virginio Gazzolo.^[26]
Mentioned in the 1994 moving-picture show Renaissance Man or Army Intelligence starring Danny DeVito.
Mentioned in the 2004 book The Dominion of 4 by Ian Caldwell and Dustin Thomason

Notes [edit]

^ Leeuw, Karl Maria Michael de; Bergstra, Jan (28 Baronial 2007). The History of Information Security: A Comprehensive Handbook. Elsevier. p. 283. ISBN978-0-08-055058-9 . Retrieved 20 February 2022.
^ Holden, Joshua (2 October 2018). The Mathematics of Secrets: Cryptography from Caesar Ciphers to Digital Encryption. Princeton Academy Press. ISBN978-0-691-18331-2 . Retrieved twenty February 2022.
^ James Brook, "Leon Battista Alberti and the 'Night Sky' at San Lorenzo", Artibus et Historiae x, No. 19 (1989:9–35), p. 9.
^ Williams, Kim (August 27, 2010). The Mathematical Works of Leon Battista Alberti. Birkhauser Verlag AG. p. 1. ISBN978-3-0346-0473-4 – via Knuckles Libraries.
^ Norwich, John Julius (1990). Oxford Illustrated Encyclopedia Of The Arts. The states: Oxford University Printing. p. 11. ISBN978-0198691372.
^ Treccani encyclopedia, Leon Battista Alberti
^ ^a ^b ^c ^d Melissa Snell, Leon Battsta Alberti, About.com: Medieval History.
^ ^a ^b ^c ^d ^east The Renaissance:a Illustrated Encyclopedia, Octopus (1979) ISBN 0706408578
^ ^a ^b ^c ^d Jacob Burckhardt in The Civilisation of the Renaissance Italian republic, 2.1, 1860.
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ Joseph Rykwert, ed., Leon Baptiste Alberti, Architectul Blueprint, Vol 49 No five-half dozen, London
^ ^a ^b ^c ^d Vasari, The Lives of the Artists
^ Leone Battista Alberti, On Painting, editor John Richard Spencer, 1956, p. 43.
^ Nader El-Bizri, "A Philosophical Perspective on Alhazen's Eyes", Standard arabic Sciences and Philosophy, vol. 15, effect 2 (2005), pp. 189–218 (Cambridge University Press).
^ ^a ^b ^c ^d ^e Liukkonen, Petri. "Leon Battista Alberti". Books and Writers (kirjasto.sci.fi). Republic of finland: Kuusankoski Public Library. Archived from the original on February ten, 2015.
^ ^a ^b Alberti, Leon Battista. On the Art of Building in Ten Books. Trans. Leach, N., Rykwert, J., & Tavenor, R. Cambridge: The MIT Press, 1988
^ Center for Palladian Studies in America, Inc., Palladio's Literary Predecessors
^ Caves, R. W. (2004). Encyclopedia of the City. Routledge. p. 12.
^ D. Mazzini, S. Simone, Villa Medici a Fiesole. Leon Battista Alberti e il prototipo di villa rinascimentale, Centro Di, Firenze 2004
^ ^a ^b ^c ^d ^{due east} ^f ^g ^h Franco Borsi. Leon Battista Alberti. New York: Harper & Row, (1977)
^ Johnson, Eugene J. (1975). "A Portrait of Leon Battista Alberti in the Camera degli Sposi?". Arte Lombarda, Nuova Serie. 42/43 (42/43): 67–69. JSTOR 43104980.
^ Virgil, Bucolica, Chapter Ten.
^ Liane Lefaivre, Leon Battista Alberti'due south Hypnerotomachia Poliphili, Cambridge: MIT Printing, 1997
^ De Pictura, book Three: Ergo semper quae picturi sumus, ea a natura sumamus, semperque ex his quaeque pulcherrima et dignissima deligamus.
^ Alberti, Leon Battista (1908). "I libri della famiglia".
^ Brosi, p. 254
^ The Criterion Collection, The Age of the Medici (1973) | The Criterion Collection

References [edit]

[1] Magda Saura, "Building codes in the architectural treatise De re aedificatoria,"

[two] Third International Congress on Structure History, Cottbus, May 2009.

[3] http://hdl.handle.net/2117/14252

External links [edit]

Albertian Bibliography on line
MS Typ 422.2. Alberti, Leon Battista, 1404–1472. Ex ludis rerum mathematicarum : manuscript, [14--]. Houghton Library, Harvard University.
Palladio'southward Literary Predecessors
"Learning from the City-States? Leon Battista Alberti and the London Riots", Caspar Pearson, Berfrois, September 26, 2011
Online resources for Alberti's buildings
- Alberti Photogrammetric Drawings [4]
- Due south. Andrea, Mantua, Italy
- Sta. Maria Novella, Florence, Italia
Alberti'southward works online
- De pictura/Della pittura, original Latin and Italian texts (English translation)
- Libri della famiglia – Libro iii – Dignità del volgare on audio MP3
- Momus, (printed in Rome in 1520), full digital facsimile, CAMENA Projection
- The Architecture of Leon Battista Alberti in Ten Books, (printed in London in 1755), total digital facsimile, Linda Hall Library
- Works of Alberti, book facsimiles via annal.org

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Source: https://en.wikipedia.org/wiki/Leon_Battista_Alberti