S. Andrea in Mantua is the final architectural work and the masterpiece of Leon Battista Alberti, the great 15th-century Italian humanist. As a key monument of Renaissance architecture and a seminal work for later developments including the work of Bramante and endless repetitions in Baroque Europe, the novelty of the spatial creation in S. Andrea has long been recognized. What has been obscured by the long period of construction--over 300 years--is the extent to which the existing building reflects Alberti's plan. This book, through a careful investigation of the church fabric and a sound interpretation of all relevant documents, demonstrates the fidelity of the current building to Alberti's original design. The author publishes all known documents relating to the building, including previously unpublished material, and presents new photographic documentation. The book also discusses the place of the church in Alberti's work, sources for its design in ancient, medieval and Renaissance architecture, and its role in the dynastic and civic ambitions of the ruling family of Mantua, the Gonzaga. The changes made in Alberti's plan, particularly those of the 18th century, Juvarra's dome, and Pozzo's neo-quattrocento restoration of the interior, are re-evaluated. This is the first extensive treatment of the building in English, and the first serious monograph on S. Andrea since the 19th century.

Sir Kenneth Clark wrote in the Architectural Review, that the first result of this book was "to dispose, once and for all, of the hedonist, or purely aesthetic, theory of Renaissance architecture, ' and this defines Wittkower's intention in a nutshell.

This well-illustrated book describes the fundamental principles and various aspects of classical architecture, including a detailed, illustrated glossary that is almost a dictionary of classical architecture in itself. Professor James Stevens Curl discusses in clear, straightforward language the origins of classical architecture in Greek and Roman antiquity and outlines its continuous development, through its various manifestations during the Renaissance, its transformations in Baroque and Rococo phases, its reemergence in eighteenth-, nineteenth-, and twentieth-century Neoclassicism, and its survival into the modern era. The text and illustrations celebrate the richness of the classical architectural vocabulary, grammar, and language, and demonstrate the enormous range of themes and motifs found in the subject. All those who wish to look at buildings old and new with an informed eye will find in this book a rich fund of material, and the basis for an understanding of a fecund source of architectural design that has been at the heart of western culture for over two and a half millennia.

The Roman architect and engineer Vitruvius declared firmitas, utilitas, and venustas-firmness, commodity, and delight- to be the three essential attributes of architecture. These qualities are brilliantly explored in this book, which uniquely comprises both a detailed survey of Western architecture, including Pre-Columbian America, and an introduction to architecture from the Middle East, India, Russia, China, and Japan. The text encourages readers to examine closely the pragmatic, innovative, and aesthetic attributes of buildings, and to imagine how these would have been praised or criticized by contemporary observers. Artistic, economic, environmental, political, social, and technological contexts are discussed so as to determine the extent to which buildings met the needs of clients, society at large, and future generations.

Leon Battista Alberti (1404-72) - writer, painter and sculptor, mathematician and, most famously, architectural theorist and architect - came closer than anyone to the Renaissance ideal of the 'complete man'. Recognised by his contemporaries as an extraordinary person, he helped to shape, through his writings and his practical example in the arts, the way in which the natural and artificial world was perceived and represented during the Renaissance.