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ISBN 0-966.— Available at Amazon.I am a huge Stephen King fan. The Great Buildings Collection on CD-ROM. Englewood Cliffs, NJ: Prentice-Hall, 1986. Architecture, from Prehistory to Post-Modernism. Slide from photographer's collection, July 1993. Copyrighted slides in the Artifice Collection.ĭuane Siegrist, University of Oregon. — The classic text of architectural history.Įxpanded 1996 edition available at Updated 1996 edition available at ĭonald Corner and Jenny Young. — A nice graphic introduction to architectural ideas. New York: Harper and Row, 1977 (english translation). Architecture: from Prehistory to Post-Modernism. — Marvin Trachtenberg and Isabelle Hyman. The arch and the capitals of the engaged order he shaped in a manner not Gothic but Romanesque-antique, thus making possible the introduction of the authoritative Classical language of the entrance, consisting of fluted pilasters framed by noble columns on tall dadoes—this in homage of the Roman Pantheon, a monument exhaustively studied by 'archaeologist' Alberti." Over it, he superimposed a series of tall and narrow arches to accommodate the vertical accent of the Gothic remnants. It was this biochromatism—Tuscan Romanesque in origin and never out of favor in Florence—that Alberti chose as the departure for the revetment system of this new façade (c. "From the trecento campaign, Alberti inherited the sepulchral niches with pointed arches, the lateral portals also enclosed by Gothic frames, and the geometrically patterned green and white marble revetment. Chicago: The University of Chicago Press, 1969. Leon Battista Alberti, Universal Man of the Early Renaissance.

here contribute to a sense of rhythmic, geometric unity." The marble panels, which produce a mosaiclike effect of discrete color patches on medieval Italian church exteriors.

".Designed in the 1450's, completed the exterior of a medieval church, and yet it has been rightly described as a 'great Renaissance exponent of classical eurhythmia,' for its dimensions are all bound to each other by the 1:2 ratio of the musical Octave.