Theories of Leon Battista Alberti
By the middle of the fifteenth century, more artists became students of the past, and some humanists entered the field of art theory and design. An architect founded by the humanist, Leon Battista Alberti, wrote about classical theories on the art before creating a building. Alberti studied at the universities of Padua and Bologna, and then worked as a Latin writer for Pope Eugene IV. This situation, which included diplomatic travel, and thus was put in contact with Alberti in Italy with the best possible supporters, it was crucial for his career as an architect. In Alberti's various texts, the earliest introductory presentation of early Italian Renaissance aesthetics, in which the Italian mathematical perspective system has been given to Brunelleschi and the ideal proportion of human body made from Greek art. Alberti began to gradually change the architect's position from the builder on the hands - and in this way manual labor - an intellectual was expected to know philosophy, history and classic as well as mathematics and engineering.
The Palazzo Rucellai
The facade of the facade of the building behind his back was a constant challenge for the Italian Renaissance Architects. At the beginning of its architectural career, Alberti started a facade in 1455 - but it has never been completed - being a seamless front for merger of eight nearby homes in Florence, received by Giovanni Rucellai. Influence of its original approach by Palazzo Medici, Alberti's composition, was a simple rectangular front, suggesting a consistent, cubical three-story building, which is bounded by overhang cones, a heavy, horizontal molding on top of the wall. The double window under the round arches was the specialty of the Michelozzo's Palazzo Medici, but other facets of the facade were completely new. Inspired by the ancient Colosseum in Rome, Alberti described the surface of a slightly rusticated wall with a horizontal-vertical pattern of the horizontal bar of pilasters and architraves, which influences the classical order: Doric on the ground floor, Ionic in the second floor, and the Corinthian third place. Palazzo Rucellai provided visual lessons in the use of classical elements and mathematical proportions for local architects, and Alberti's enthusiasm for classicism and its architectural plans in other cities were catalysts for the expansion of the Renaissance movement.
Church of San Francesco
The spread of the Renaissance architectural design ahead of Florence was a significant measure of Leon Battista Alberti, who traveled extensively to potential supporters and explained their ideas. As a result, he undertook an unusual project in Rimini, suitable for artists immersing in classical knowledge: the existing medieval church, the transfer of the Church of San Francesco to the local ruler, Sigismondo Malatesta and the Renaissance "Temple" Isotta degli Atti respecting his mistress. Although this project was never completed in 1450, partially the shell, even though it provides the encyclopedia of Albertian architecture ideas. The facade in front of the original church wall includes the forms made of the front of the classical temple and nearby August of August like the Roman victorious arch. In front of the high podium temple with antibacterial support in the Corinthian order of the associated column and the triangular pediment. Triple arches, coupled columns, rounds and heavy projecting cornice have triumphal-arc motifs. Blending this level and texture and references is similar to the notion of humanitarian thinking and mythology by Botticelli.