Architectural Principles in the Age of Humanism / Edition 2

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Overview

"Professor Wittkower's....studies of humanist architecture aremasterpieces of scholarship."-Sir Kenneth Clark, ArchitecturalReview.

A fourth edition of the forty-year-old classic.

Focusing on the principal architects of that time-from Alberti toPalladio-this bestselling classic explains the true significance ofcertain architectural forms, bringing to light the connectionsbetween the architecture and culture of the period. Withpublication scheduled to coincide with that of Architectonics ofHumanism, this important reference is superbly reproduced in a new,large square format.

The late RUDOLF WITTKOWER was a college professor and eminentscholar residing in London, England.

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Editorial Reviews

Booknews
The latest revision in ten years of what has become a classic elucidation of the connections between the architecture and the culture of the Renaissance. First published in 1949 as volume 19 of the . The 50-year commemorative edition integrates the illustrations with the text and includes an edited selection of lectures by Wittkower (b. 1901), who removed from Germany to London ahead of the Nazis and became active in the Warburn Institute. Annotation c. Book News, Inc., Portland, OR (booknew.com)
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Product Details

  • ISBN-13: 9780471977636
  • Publisher: Wiley
  • Publication date: 1/28/1999
  • Edition description: REV
  • Edition number: 2
  • Pages: 160
  • Product dimensions: 8.98 (w) x 9.37 (h) x 0.49 (d)

Meet the Author

Rudolf Wittkower was born in Berlin in 1901. Leaving Germany when the Nazis came to power, he was one of the animators of the Warburg Institute of London. In 1941 he organized, with Fritz Saxl, the exhibition British Art and the Mediterranean, the publication of which (1948) forms an important document of the aims and methods of the Warburg Institute. A great scholar of Italian Renaissance and Baroque art, Wittkower taught at both the University of London and Columbia University. His books, all important works of scholarship, include Die Zeichnungen des Gian Lorenzo Bernini (with H. Bruer, 1931), The Drawings of the Carracci at Windsor Castle (1952), Gian Lorenzo Bernini, the Sculptor of Roman Baroque (1955), Art and Architecture in Italy, 1600-1750 (1958), Born under Saturn (with Margot Wittkower, 1963), and Divine Michelangelo: The Florentine Academy's Homage on His Death in 1564 (with Margot Wittkower, 1964). In addition, he was a frequent contributor to the Journal of the Warbung and Courtauld Institute, the Art Bulletin, Burlington Magazine and the Journal of the Society of Architectural Historians, among others.

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Table of Contents

THE CENTRALLY PLANNED CHURCH AND THE RENAISSANCE.

Alberti's Programme of the Ideal Church.

Centralized Churches in Later Architectural Theory.

Building Practice: S Maria delle Carceri.

Bramante and Palladio.

The Religious Symbolism of Centrally Planned Churches.

ALBERTI'S APPROACH TO ANTIQUITY IN ARCHITECTURE.

The Column in Alberti's Theory and Practice.

S. Francesco at Rimini.

S. Maria Novella.

S. Sebastiano and S. Andrea at Mantua.

The Change in Alberti's Interpretation of ClassicalArchitecture.

PRINCIPLES OF PALLADIO'S ARCHITECTURE.

The Architect as 'uomo universale': Palladio, Trissino andBarbaro.

Palladio's Geometry: The Villas.

Palladio and Classical Architecture: Palaces and PublicBuildings.

The Genesis of an Idea: Palladio's Church Fa├žades.

Palladio's Optical and Psychological Concepts: II Redentore.

THE PROBLEM OF HARMONIC PROPORTION IN ARCHITECTURE.

Francesco Giorgi's Platonic Programme for S. Francesco dellaVigna.

The Mean Proportionals and Architecture.

Alberti's Generation of Ratios.

Musical Consonances and the Visual Arts.

Palladio's 'fugal' System of Proportion.

Palladio's Ratios and the Development of Sixteenth-Century MusicalTheory.

The Break-away from the Laws of Harmonic PorportionArchitecture.

Appendices.

Index.

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