encing the layout of the Etruscum Sacrum. Repetition
ratios” (Borsi 232). Alberti’s use of organic geometry can
set in on either side of the nave, hold even smaller cha-
entrance of Sant’ Andrea, was used prior in San Fran-
of elements such as arches, niches, and pilasters mirror
be seen when broken down into simple shapes. The
pels within. The niches break up and lighten the heavi-
cesco, Rimini, and Santa Maria Novella. His use of the
both sides of the church, creating a visual order and un-
facade is organized within a perfect square, (50 by 50
ness of the masonry. Author and professor Joan Gadol
arch in a number of his projects expresses his classicism
derline the effect of perspective (Tavernor 178).
Mantuan braccia square;MBr) (Tavernor 178-181). The
describes the interior space as “that of a cosmos held in
as a humanist (Grafton 325-8). The triumphal arch, de-
only partly concealed basilica behind the facade forms a
dynamic equipoise” (Gadol 137-8). The vastness of the
scribed by Tavernor as “a gate that is continuously open”
2. Anthropomorphism
perfect circle repeated beneath in the form of the great
church is perceived as a whole from all angles, simply
(Tavernor 178) overlooks the piazza square, defining
Emerging from Leonardo Da Vinci’s drawings
triumphal arch. Similar circles and squares divide the fa-
emphasizing the impression of depth.
one public space to another.
of the Vitruvian Man, human and divine proportions fos-
cade. As well, a similar use of ratios is continued further
tered the intention and focus that was on the rational
inside the church.
5. Juxtaposition of discrete forms
6. Emphasis on center, corners, and sides
Alberti’s “stylistic lexicon” was influenced by
Similar to the axis of symmetry that divides
4. Defined space
the ancient building he studied, combined with the ver-
the Latin cross plan into two mirrored halves, the floor
and humane at the time (Glancey 69). The ideal harmony was defined in accordance with the belief that God revealed the human body as the source of all ratios and
Alberti’s facade amounts to “a purely deco-
nacular style of the projects he worked on. In compari-
and ceiling are divided by a similar axis. The coffered
denominations of nature (Wittkower 15). This formula is
rative form, almost like a stage setting” (Grafton 13) in
son to the precedents he studied, Alberti used similar
ceiling (seen earlier in the Pantheon and the Basilica
seen in Sant’ Andrea in the façade and later through the
combination with the elevated platform on which it
forms which he refined to meet his own need. For in-
de Maxentius which Alberti prided to have copied the
use of squares and circles in perfect balance inside.
stands. The great triumphal arch, with a set in coffered
stance,
texture cheaply and efficiently) reflects the checker-
3. Clear and simple geometry
barrel vault, opens the facade to the piazza square. In-
Where the Ancients used colonnades, Alberti used arches.
board-tiled floor used to emphasis the perspective of
side, the same form of coffered barrel vaulting extends
Where Athenians used free-standing columns —
the viewer. Furthermore, the Latin cross plan places em-
The design of the Mantua church is the per-
over the nave emphasizing the longitudinal direction of
Alberti used engaged columns or pilasters.
phasis on the central nave, combined with the light that
fect example of “spatial harmony governed by simple
the Latin cross plan. The three, soaring arched chapels
The classical structure of the triumphal arch seen at the
originates from the barrel vault opening at the front
4 GROUP THREE