EARLY RENAISSANCE ARCHITECTURE IN ITALY

2 LEON BATTISTA ALBERTI

2.1 RIMINI, TEMPIO MALATESTIANO

2.1.1 RIMINI, ARCH OF AUGUSTUS

2.1.2 LEON BATTISTA ALBERTI: RIMINI, S. FRANCESCO OR TEMPIO MALATESTIANO, FAADE. MATTEO DE PASTI: ALBERTIS MEDAL, MILAN.

In this week, we'll speak about Leon Battista Alberti and his use of orders. Rimini is a small town founded by the Romans by the Adriatic Sea, and the Triumphal Arch of Augustus is a witness to its antique origins. At those times (early Renaissance), Rimini was part of the Church State, and the lord vicar of the town, Sigismondo Malatesta, built there his residential castle and began in 1447 the transformation of the San Francescos church, including in it two new mortuary chapels, one dedicated to Isotta (his beloved), another to Saint Sigismond for himself to be buried in. Matteo De Pasti was appointed as architect and Agostino di Duccio as sculptor; they were working at the church in 1451 when the painter Piero della Francesca joined them. We don't know exactly when and where Sigismondo met Leon Battista Alberti - probably among the associates of Pope Nicholas V in Fabriano in 1450 - or in Rome. But Sigismondo trusted to him the task to renew the church, inside and outside. Alberti, here represented in a medal cast as dedication, was a humanist born in Genoa from a Florentine family, which around 1430 was in Rome and, since 1443, lived there at the service of the Pope. In 1436, the humanist was likely present at the solemn inauguration ceremony of the dome of Santa Maria del Fiore in Florence. In 1452, Alberti presented to Pope Nicholas V his treatise on architecture - De Re Aedificatoria - in Latin language: this will remain the basic architectural treatise for patrons and architects of the Renaissance. Studying and measuring the antique monuments as nobody before him, Alberti remembered not only the Brunelleschi's proposals that he had well known in Florence (and that we met last week) but enlarged the range of solutions. He got closer to the issues of Roman antiquity as we can see in the faade of San Francescos church in Ri mini, called later the Tempio Malatestiano.

It is probable that Alberti made his design in 1453, although 1450 is the date on the frieze of the faade. It is clear, at first sight, that Alberti was inspired by Roman triumphal arches and - particularly for the roundels in the spandrels - by the triumphal arch we have seen still existing in Rimini.

2.1.3 RIMINI, TEMPIO MALATESTIANO, FAADE, CAPITAL

2.1.4 ETRUSCAN CAPITAL WITH FIGURES. RIMINI, TEMPIO MALATESTIANO, FAADE, CAPITAL AND ENTABLATURE.

But the capitals are very different from the best known antique monuments or the Brunelleschi's Corinthianesque capitals, and we could not classify them as Doric, Ionic, or Corinthian - the three orders mentioned by the Roman Treatise of Vitruvius. Alberti, in fact, used and interpreted a figurate late Etruscan capital , choosing a rare solution instead of the normalized solutions of Brunelleschi. The entablature on the capitals is, on the contrary, simple and linear although it is projecting on the half columns of the faade as in a triumphal arch. The decoration is concentrated on the central arch, where there is an intarsia of coloured marbles in geometrical shapes and on the door with the decorative motifs typical of the antique cornices.

2.1.5 RIMINI, TEMPIO MALATESTIANO, DOOR AND DETAIL OF THE IMPOST BLOCK OF THE ARCH .

2.1.6 RIMINI, TEMPIO MALATESTIANO, DETAIL OF THE DOORS PEDIMENT.

This springer level and these forms of the impost cornice of the faade arches are maintained in the arches at the sides. And we can follow it here, where there is also continuing the basement band, decorated with Sigismondo's monogram, that someone has romantically interpreted for Sigismondo and Isotta: S and I. A more attentive observation of the church size makes us understand that Alberti did not substitute the lateral walls of the pre-existing church, but included them by arches on piers, without bases and with the related impost

cornices used as capitals as well as the piers inside of the Colosseum. It is a solution once again different from the Brunelleschis solutions and closer to antiquitys models.

2.1.7 RIMINI, TEMPIO MALATESTIANO, CORNER AND SIDE; THE SIGISMONDO MALATESTAS MONOGRAM.

2.1.8 ROME, COLOSSEUM. DETAIL RIMINI, MALATESTIANO, PIERS AND ARCHES OF THE SIDE.

TEMPIO

Here we have plan, section, and details of the Tempio Malatestiano and the foundation medal that represents its facade with on the background a large hemispherical dome. The nave of the church is indeed full of wonderful sculptures and columns but without a central space covered by a dome, that was in fact not realised.

2.1.9 RIMINI, TEMPIO MALATESTIANO FROM J. B. SEROUX DAGINCOURT. MATTEO DE PASTI: MEDAL FOR SIGISMONDO PANDOLFO MALATESTA, 1553-55.

2.1.10 RIMINI, TEMPIO MALATESTIANO, NAVE.

On the basis of several archeological findings and all the available documents, Charles Pope proposed this solution for the ending part of the Tempio Malatestiano, under the dome: in this case, the church would have had a composite plan, a prototype of many solutions that we will consider in our next lectures.

2.1.11 THE ALBERTIS PROJECT FOR THE TEMPIO MALATESTIANO ACCORDING C. HOPE.

2.2 FLORENCE, THE RUCELLAI PALACE

With Palazzo Davanzati, we are coming back to Florence and speaking about palaces: it is a monumental example of a late gothic Florentine palace, showing a facade along the street, a flat rustication on the basement, and a clear division of stories by simple cornices just under the windows. Thats a monumental prototype of the gothic florentine palace.

2.2.1 FLORENCE, PALAZZO DAVANZATI, MIDDLE OF XIV CENTURY.

2.2.2 MICHELOZZO DI BARTOLOMEO: FLORENCE, PALAZZO MEDICI, BEGUN 1444-46.

Palazzo Medici, begun in 1444/1446 by the architect Michelozzo for Cosimo De Medici, looks back to the Florentine traditional palaces, but also introduces important novelties. The volume of Palazzo Medici appears isolated and gains the maximum visibility from Via Larga, the street in front of it, with a corner emerging on the street. It has a clear division of the storeys, a square plan and a square courtyard in the middle. The ground story presents massive blocks that imitate the strength of the antique walls; the second story has a rustication flat and regular, and the third a smooth ashlar face, surmounted by a raking cornice with scrolls in antique forms.

2.2.3 MICHELOZZO DI BARTOLOMEO: FLORENCE, PALAZZO MEDICI, MASSIVE BLOCKS OF THE GROUND STOREY.

2.2.4 MICHELOZZO DI BARTOLOMEO: FLORENCE, PALAZZO MEDICI, SECOND AND THIRD STOREYS, DETAILS.

The courtyard presents full arches and columns with capitals more decorated than those used by Brunelleschi and coming from the triumphal roman arches thanks to Michelozzos particular feeling for decoration.

2.2.5 MICHELOZZO DI BARTOLOMEO: FLORENCE, PALAZZO MEDICI, COURTYARD AND DETAIL OF A CAPITAL.

Also because the Medici family was the most powerful in Florence, the palace became the prototype of the renaissance florentine palaces. Even in respect with Palazzo Medici, Palazzo Rucellai - that Leon Battista Alberti realized 10 years later upon (in fact he just designed the facade) pre existing buildings - presents important novelties. We are directly interested about this palace.

2.2.6 L. B. ALBERTI, PALAZZO RUCELLAI, FAADE 2.2.7 L. B. ALBERTI: FLORENCE, PALAZZO RUCELLAI, PROBABLY BEGUN 1455 ROME, COLOSSEUM, ARCHES AND ORDERS

In this case, it is not isolated as Palazzo Medici, and it can only be seen from the bottom - walking along the street or from the street just in front of the palace. This facade is the first example of a pilaster facade; in other words, it is entirely organised by architectural orders, which - as in the Colosseum - are superimposed one over the other, framing the windows arches closely bound to the pilasters. Its as if the Colosseums system were projected over the flat surface of the facade and translated from half columns to pilasters and from arches to windows arches.

We can see here as the palace is placed in a block close to the San Pancrazios church (that we will consider in a next lecture) and, closer in detail, the palace plan with its little and asymmetrical courtyard. Its very different from Palazzo Medici.

2.2.8 FLORENCE, PLAN OF PALAZZO RUCELLAI, BLOCK AND PIAZZA

The Rucellai family will later open - in order to allow a better view of the facade - a small piazza with a loggia, a little new piazza which gave more visibility to the facade. We must know that the palace grew in subsequent phases, even if we do not know if Alberti had planned it. It is supposed that the first part of the facade was composed by 5 bays with a central door and symmetrical appearance. Later, there were added 2 more bays with a second door. The third part that would have newly reached the symmetry, but it was never realised because one of the Ruccellais families didnt want to sell its contiguous building. Anyway, I believe this was the Albertis final project.

2.2.9 PALAZZO RUCELLAI, THE BUILDING PHASES. PLAN

Despite the profound differences between Brunelleschi and Alberti, differences that we begin to understand, proportions and geometry have the main role also in Alberti. The whole facade is in fact adjusted according to the oldest (pre-existing) proportions and structures so that where the bays enlarge in connection with the doors, the arches raise too (in order to maintain the proportions of a full-arched-system). This means that when the bays enlarge the arches raise more that what happens to the contiguous arches. The pilaster proportions are nevertheless more extended than the ancient ones (roman columns of Colosseum).

2.2.10 PALAZZO RUCELLAI, FAADE, DETAILS PALAZZO RUCELLAI, SURVEY

Furthermore the details of the order are different and innovative. That means: doric capitals at the first level S capitals from the Adrians mausoleum at the second one; corinthian from Colosseum at the third. the final entablature with corbels in the frieze comes also from the Colosseum.

2.2.12 PALAZZO RUCELLAI, ORDER OF THE SECOND STOREY

2.2.11 PALAZZO RUCELLAI, ORDER OF THE FIRST STOREY

2.2.13 PALAZZO RUCELLAI, ORDER OF THE THIRD STOREY

2.2.14 PALAZZO RUCELLAI, DOOR AND DETAIL OF THE BASES OPUS RETICOLATUM

More in details, even the door looks like an antique door with straight lintel and S scroll brackets and the plinth imitates the opus reticulatum showing a pattern of stone masonry. The Rucellai Palace were not imitated in Florence because the Florentines preferred following the model of Medici's palace, but it was admired by Filarete as well as it were an antique building (we will speak about him in the next lectures). It remains a very high example of combination between florentine tradition, new geometrical rationalism and the utilization of antique shapes from humanistic architects, as Alberti was.

2.3 FLORENCE, THE FAADE OF S. MARIA NOVELLA

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In the next two lectures, we will speak about other buildings by Alberti, always focusing on the orders. Alberti designed in Florence the S. Maria Novella facade for Giovanni Rucellai, for whom he had already built the Palazzo Rucellai we saw before.

2.3.2 FLORENCE, SAN MINIATO 2.3.1 FLORENCE, S. MARIA NOVELLA, FAADE, BEGUN 1460

The similarity to San Miniatos church that we have examined (and we can see here) is clear, both for the intarsia in green and white and for the division of the facade into two storeys, the upper one of them shaped in the form of a temple.The differences with the San Miniato church are to be found in the forms - here (in S. Maria Novella) looking strictly back to antiquity - and in the proportions: a rectangular pattern also achieved by the rectangular intarsia. Alberti adapted his project to the pre-existing building, the big Dominican gothic church of S. Maria Novella. We can see here the schematic plan of the gothic church and its facade.

2.3.4 FLORENCE, S. MARIA NOVELLA, THE UPPER PART OF THE FAADE

2.3.3 FLORENCE, S. MARIA NOVELLA, PLAN OF THE CHURCH BEGUN 1278

The height of the pre-existing nave was reached by the superior part of the new facade. We can see here that Alberti designed two huge volutes to connect it to the inferior part of the facade hiding the walls behind. He introduced, between the upper part and the fully articulated ground level, an intermediate fascia to hide the non-exact verticality of the pilasters in respect to the others below and to avoid a too slender proportion of the orders. We can see in fact that the verticality here is not perfectly connected or aligned to the lower storey.

2.3.5 FLORENCE, S. MARIA NOVELLA, THE GROUND LEVEL OF THE FAADE

2.3.6 FLORENCE, S. MARIA NOVELLA, CORNERS SOLUTION

At the ground level, Alberti kept the division of the pre-existing facade, using big, green-marble-columns to include the ancient tombs - located under pointed arches - and concluded the facade with two big pilasters at the sides. We can see particulars of the corners solution: some scholars think that the solutions of a column alongside a pilaster on the corner of the facade comes from the corners solution of the Basilica Aemilia in the Roman forum that Alberti knew. Nevertheless, he used very different capitals with different proportions and bases though having the same height. This is very peculiar and needs to be interpreted.

2.3.7 FLORENCE, S. MARIA NOVELLA, MAIN DOOR

2.3.8 FLORENCE, S. MARIA NOVELLA, STRIP PILASTERS OF THE MAIN DOOR

The door - inserted between the two central columns - seems to re-propose the Brunelleschis orders intersection, stressed with marbles of different colors. However, here we can see a distortion of the orders, because the inside pilasters are smaller than the outside ones and the bases and capitals are of different heights,

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even if just slightly. This is an optical solution chosen to emphasize in perspective the depth of the door, and used by Alberti underlined one more time his original interpretation of Vitruvius and of the antique orders. The facade S. Maria Novella was begun in 1460 with the money that the Rucellai family had set apart to build his own chapel in San Pancrazios church, close to their palace. We saw it designed in the plan of the palaces block, but it was in fact realized later in time.

2.3.9 FLORENCE, S. PANCRAZIO, CHAPEL OF THE HOLY SEPULCHRE, BEGUN 1458-59

2.3.10 FLORENCE, S. PANCRAZIO, CHAPEL OF THE HOLY SEPULCHRE, SACELLUM

As we can see in the de Montignys print - an old print representing the chapel - a couple of trabeated columns were set at the chapels entrance from the aisle of the church. In XIXth century the columns were moved to the facade of the church and a wall was built on their place, but still we can see the rectangular chapel with its barrel vault and the pairs of pilasters in the corners - a solution of Brunelleschian origin. In the center is placed a reproduction of the Jerusalem Sepulchres Sacellum, with green and white marble intarsias of florentine tradition, a very rich order of pilasters with S capitals and a very ornate entablature looking back to antiquity. A fastigium of leaves refers again to the Holy Sepulchre and doing so Alberti moves away from the geometric and cubic space of Brunelleschi, merging antiquity with florentine tradition.

2.4 MANTUA, THE CHURCHES OF S. SEBASTIANO AND S. ANDREA BY ALBERTI

Pope Pius II chose Mantua - a town in the south of Lombardy - to convene in 1459 the christian princes and organize a crusade after the Turkish conquest of Constantinople in 1453. The marquis of Mantua Ludovico Gonzaga committed to Alberti - who was in Mantua among the Popes suite - two major buildings immediately after that occasion in order to modernize his city. The first project was in 1460 the construction of S. Sebastiano, soon after the conclusion of the Diet, and ten years later - in 1470 - he committed to Alberti the complete rebuilding of the church of S. Andrea. Seroux dAgincourt shows in the same plate plan and section of both churches: the central plan of S.Sebastiano and the longitudinal plan of S. Andrea. These are two very original examples of how to build a christian church capable to receive numerous believers and appearing antique at the same time.

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2.4.1 L. B. ALBERTI: S. ANDREA AND S. SEBASTIANO AT MATUA REPRESENTED BY J. B. SEROUX DAGINCOURT

2.4.2 L. B. ALBERTI: MANTUA, S. SEBASTIANO, BEGUN 1460. ANTONIO LABACCO: S. SEBASTIANO

S. Sebastiano was perhaps conceived by Ludovico Gonzaga as the sepulchral church of its family at the far end of Mantua city. That is why Alberti designed a square plan with one chapel on each side - as a greek cross - and a facade with a front on two levels. The only antique existing drawing of S. Sebastiano (probably a copy of an original model) shows the Albertis proportions - represented by the numbers along the plan - and also shows that a big dome was to be placed on the churchs squared core. This dome was in the end not realized. The facade reminds us of an antique temple, but we can see here an Albertis attempt just of a completely wallen facade: we dont find any half columns - as in the Tempio Malatestiano - but just simple pilasters under a big pediment. It is as an antique temple facade were projected on a wall.

2.4.3 L. B. ALBERTI: MANTUA, S. SEBASTIANO, DETAIL

2.4.4 MANTUA, S. SEBASTIANO, SUPERIMPOSED SURVEYS OF THE CRYPT AND OF THE CHURCH

Original details are inserted on the facades walls. The trabeation is interrupted by a window and an arch is connecting two parts: that is a late antique solution. The central door is decorated by a cornice sustained by big volutes: a solution also probably taken from late antique examples. Sources could have been the Dubrovnik Palace or the Palace of Diocletian at Split (both in actual Croatia) or even somewhere else.

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The originality of this building is such that we can not affirm that the two-storeys was planned by Alberti from the beginning. We can see here superimposed the plans of the ground level and of the crypt level in an exact survey made by Volpi Ghirardini and Calzona, two scholars that dedicated a big volume to the building. Wittkowers proposal about Albertis possible original solution is the one you can s ee on the right and in this case the crypt would not have been visible on the facade. In spite of some inconsistencies between the two levels, the simple but monumental interior make us think that this was the Albertis solution. And we find again here in the crypt piers without bases.

2.4.5 MANTUA, S. SEBASTIANO, THE TWO LEVELS VISIBLE IN FAADE. HYPOTHETIC RESTITUTION OF THE S. SEBASTIANOS FAADE BY R. WITTKOWER

2.4.6 MANTUA, S. SEBASTIANO, CRYPT

The research of an architectural masonry is clearer in S. Andrea, the church that Alberti designed in the middle of the city near Piazza delle Erbe, occupying a whole bl ock. For this reason its even closer to the antique roman architecture.

2.4.7 MANTUA, PIAZZA DELLE ERBE AND S. ANDREA, PLAN

2.4.8 L. B. ALBERTI: MANTUA, S. ANDREA, BEGUN 1470, FAADE

Here is the plan with piazza delle Erbe and the block where S. Andreas church was built. We can also see the church from Piazza Erbe, behind the houses with porches facing the piazza.

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The facade, entirely in masonry, combines - as written by Wittkower - the triumphal arch (and its rhythm ShortLong-Short/Short-Long-Short) with the facade of an antique temple.

2.4.9 L. B. ALBERTI: MANTUA, S. ANDREA, BARREL VAULTS AND TOP STOREY OF THE FAADE

2.4.10 L. B. ALBERTI: MANTUA, S. ANDREA, FAADE, ORDER DETAILS

In the width of the facade we can see a barrel vault with lacunar ceiling, clearly referring to triumphal arches. Here we have an axonometric representation of the facade, its volume and its upper part (that we will consider in the next slides). Concerning the orders, here we find again interceptions between major and minor order. The minor trabeation is less projected in order not to exceed the major pilaster: thats another distortion that we can find in an Albertis building. The major entablature is instead very ornate and projecting, surmounted by the pediment and by a big vault called ombrellone, believed by some scholars not to be Albertis original. Its anyway represented in a drawing dated to the XVIth century showing the building at that time.

2.4.11 L. B. ALBERTI: MANTUA, S. ANDREA, FAADE, ORDER DETAILS

2.4.12 L. B. ALBERTI: MANTUA, S. ANDREA, THE VAULTED ELEMENT (OMBRELLONE) CONCLUDING THE FAADE AND ITS REPRESENTATION BY VICHER

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The interior of the church is not less extraordinary: it reminds us of the huge halls of the imperial Thermae. At the sides of the nave, great barrel vaulted chapels are built between piers with a couple of pilaster of the same order and height of those on the facade. The demonstration comes from an accurate survey, showing the correspondence between the exterior main order and interior main order.

2.4.14 COPIST FROM L. MARCONI, PLAN OF S. ANDREA, 17981805 2.4.13 MANTUA, S. ANDREA, SECTION OF THE FAADE AND THE INTERIOR AND VIEW OF THE NAVE

Alberti died in 1472 - few months after the beginning of works - leaving a model, but we dont know how his project of the nave had to be completed.

2.4.15 HYPOTHESIS OF S. ANDREA WITHOUT TRANSEPT. SURVEY OF THE SOUTH-WEST PILLAR UNDER THE DOME BY L. VOLPI GHIRARDINI

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On the plan of the church we see that the crypt is linked to the stairs within the piers under the dome: this is an exceptional solution, showing a double stair inside each pier. A survey of the structure has demonstrated that Alberti planned their existence since the beginning and that the piers were made to sustain the dome, resisting to its heaviness, despite their shape. Its to be excluded the idea of an original solution with an apse proposed by some scholars.

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CONTENIDO Early Renaissance Architecture in Italy 2 Leon Battista Alberti ______________________________________ 1

2.1 2.2 2.3 2.4 Rimini, Tempio Malatestiano ____________________________________________________________ 1 Florence, the Rucellai Palace ____________________________________________________________ 4 Florence, the faade of S. Maria Novella ___________________________________________________ 8 Mantua, the churches of S. Sebastiano and S. Andrea by Alberti _______________________________ 11

Contenido ________________________________________________ 17 Tabla de ilustraciones _______________________________________ 18

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TABLA DE ILUSTRACIONES
2.1.1 Rimini, Arch of Augustus ____________________________________________________________________ 1 2.1.2 Leon Battista Alberti: Rimini, S. Francesco or Tempio Malatestiano, faade. Matteo de Pasti: Albertis medal, Milan. ________________________________________________________________________________________ 1 2.1.3Rimini, Tempio Malatestiano, faade, capital ____________________________________________________ 2 2.1.4 Etruscan capital with figures. Rimini, Tempio Malatestiano, faade, capital and entablature . ____________ 2 2.1.5 Rimini, Tempio Malatestiano, door and detail of the impost block of the arch . ________________________ 2 2.1.6 Rimini, Tempio Malatestiano, detail of the doors pediment. _______________________________________ 2 2.1.7 Rimini, Tempio Malatestiano, corner and side; the Sigismondo Malatestas monogram. _________________ 3 2.1.8 Rome, Colosseum. detail Rimini, Tempio Malatestiano, piers and arches of the side. ____________________ 3 2.1.9 Rimini, Tempio Malatestiano from J. B. Seroux dAgincourt. Matteo de Pasti: medal for Sigismondo Pandolfo Malatesta, 1553-55. ____________________________________________________________________________ 3 2.1.10 Rimini, Tempio Malatestiano, nave. __________________________________________________________ 3 2.1.11 The Albertis project for the Tempio Malatestiano according C. Hope. _______________________________ 3 2.2.1 Florence, Palazzo Davanzati, middle of XIV century. ______________________________________________ 4 2.2.2 Michelozzo di Bartolomeo: Florence, Palazzo Medici, begun 1444-46. ________________________________ 4 2.2.3 Michelozzo di Bartolomeo: Florence, Palazzo Medici, massive blocks of the ground storey. _______________ 4 2.2.4 Michelozzo di Bartolomeo: Florence, Palazzo Medici, second and third storeys, details. __________________ 4 2.2.5 Michelozzo di Bartolomeo: Florence, Palazzo Medici, courtyard and detail of a capital. __________________ 5 2.2.6 L. B. Alberti, Palazzo Rucellai, faade __________________________________________________________ 5 2.2.7 L. B. Alberti: Florence, Palazzo Rucellai, probably begun 1455 Rome, Colosseum, arches and orders ________ 5 2.2.8 Florence, plan of Palazzo Rucellai, block and piazza_______________________________________________ 6 2.2.9 Palazzo Rucellai, the building phases. Plan ______________________________________________________ 7 2.2.10 Palazzo Rucellai, faade, details Palazzo Rucellai, survey _________________________________________ 7 2.2.11 Palazzo Rucellai, order of the first storey ______________________________________________________ 8 2.2.12 Palazzo Rucellai, order of the second storey ____________________________________________________ 8 2.2.13 Palazzo Rucellai, order of the third storey______________________________________________________ 8 2.2.14 Palazzo Rucellai, door and detail of the bases opus reticolatum __________________________________ 8 18

2.3.1 Florence, S. Maria Novella, faade, begun 1460 __________________________________________________ 9 2.3.2 Florence, San Miniato ______________________________________________________________________ 9 2.3.3 Florence, S. Maria Novella, plan of the church begun 1278 _________________________________________ 9 2.3.4 Florence, S. Maria Novella, the upper part of the faade ___________________________________________ 9 2.3.5 Florence, S. Maria Novella, the ground level of the faade ________________________________________ 10 2.3.6 Florence, S. Maria Novella, corners solution ___________________________________________________ 10 2.3.7 Florence, S. Maria Novella, main door ________________________________________________________ 10 2.3.8 Florence, S. Maria Novella, strip pilasters of the main door ________________________________________ 10 2.3.9 Florence, S. Pancrazio, Chapel of the Holy Sepulchre, begun 1458-59 ________________________________ 11 2.3.10 Florence, S. Pancrazio, Chapel of the Holy Sepulchre, Sacellum ____________________________________ 11 2.4.1 L. B. Alberti: S. Andrea and S. Sebastiano at Matua represented by J. B. Seroux dAgincourt _____________ 12 2.4.2 L. B. Alberti: Mantua, S. Sebastiano, begun 1460. Antonio Labacco: S. Sebastiano _____________________ 12 2.4.3 L. B. Alberti: Mantua, S. Sebastiano, detail _____________________________________________________ 12 2.4.4 Mantua, S. Sebastiano, superimposed surveys of the crypt and of the church _________________________ 12 2.4.5 Mantua, S. Sebastiano, the two levels visible in faade. Hypothetic restitution of the S. Sebastianos faade by R. Wittkower _________________________________________________________________________________ 13 2.4.6 Mantua, S. Sebastiano, crypt ________________________________________________________________ 13 2.4.7 Mantua, Piazza delle Erbe and S. Andrea, plan _________________________________________________ 13 2.4.8 L. B. Alberti: Mantua, S. Andrea, begun 1470, faade ____________________________________________ 13 2.4.9 L. B. Alberti: Mantua, S. Andrea, barrel vaults and top storey of the faade___________________________ 14 2.4.10 L. B. Alberti: Mantua, S. Andrea, faade, order details___________________________________________ 14 2.4.11 L. B. Alberti: Mantua, S. Andrea, faade, order details___________________________________________ 14 2.4.12 L. B. Alberti: Mantua, S. Andrea, the vaulted element (ombrellone) concluding the faade and its representation by Vicher ________________________________________________________________________ 14 2.4.13 Mantua, S. Andrea, section of the faade and the interior and view of the nave ______________________ 15 2.4.14 Copist from L. Marconi, plan of S. Andrea, 1798-1805 ___________________________________________ 15 2.4.15 Hypothesis of S. Andrea without transept. Survey of the south-west pillar under the dome by L. Volpi Ghirardini ____________________________________________________________________________________ 15

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