Leon Battista Alberti was one of the most important humanist scholars of the Italian Renaissance. Active in mid-fifteenth-century Florence, he was an architect, a theorist, and the author of texts on perspective and painting. Alberti’s On Painting is a cardinal work that revolutionized Western art. In this volume, Rocco Sinisgalli presents a new English translation and critical examination of Alberti’s seminal text. Dr. Sinisgalli reverses the received understanding of the relationship between the Italian and Latin versions of Alberti’s treatise by demonstrating that Alberti wrote On Painting first in Italian and then translated it into a polished Latin over the course of several decades. This volume is richly illustrated to help demonstrate how Alberti understood optics and art.
Rocco Sinisgalli is Professor of Sciences of Representation in Art and Architecture at the Sapienza University of Rome. He is the author of more than twenty books, including A History of the Perspective Scene from the Renaissance to the Baroque and Leonardo and the Divine Proportion.
CAMBRIDGE UNIVERSITY PRESS
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© Rocco Sinisgalli 2011
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First published 2011
Printed in the United States of America
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ISBN 978-1-107-00062-9 Hardback
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To Raffaela
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List of Illustrations
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ix |
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Acknowledgments
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xiii |
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Introduction
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1 |
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From Tuscan to Latin, and Not Vice Versa
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3 |
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Johannes Regiomontanus, Albrecht Dürer, and the Editio Princeps
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4 |
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The Tuscan Vernacular Text, Its Prologue, and Its Dedication to Brunelleschi
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7 |
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The False Priority of Latin
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9 |
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The Florentine Tradition
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11 |
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From Janitschek to Grayson
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13 |
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Text
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15 |
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Prologue Addressed to Filippo Brunelleschi
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17 |
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Letter to Giovanni Francesco
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20 |
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Book One: The Rudiments
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22 |
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Book Two: The Picture
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44 |
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Book Three: The Painter
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74 |
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Appendixes
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87 |
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Appendix 1: Limitations of Grayson’s Studies on De Pictura
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89 |
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Appendix 2: First Doubts
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93 |
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Notes
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95 |
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Illustrations
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113 |
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Selected Bibliography
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207 |
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Index of Names (Albertian Text)
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213 |
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1. The Point. The Line
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113 |
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2. The Surface. The Extreme Part of a Body
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114 |
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3. The First Quality of a Surface: The Known External Path
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115 |
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4. The Circle
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116 |
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5. Rectilinear Figures and Their Transformation
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117 |
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6. The Angles
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118 |
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7. The Other Quality of a Surface: The Skin or the Dorsal Extension
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119 |
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8. The Uniform and Plane Surface
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119 |
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9. The Spherical Surface
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119 |
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10. The Sphere
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120 |
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11. The Sphere: What Does “in Every Aspect” Mean?
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121 |
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12. The Concave Surface
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122 |
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13. The Composite Surface of the Cylinder
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123 |
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14. The Composite Surface of the Cone
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124 |
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15. The Pyramids and the Cones
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125 |
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16. If the Distance or Position Changes
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126 |
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17. The Visual Rays: Intromission Theory
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127 |
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18. The Visual Rays: Expulsion Theory
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128 |
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19. The Extreme Rays
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129 |
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20. The Median Rays
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129 |
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21. The Centric Ray
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130 |
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22. The Potentialities and Task of the Extreme Rays
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131 |
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23. The Visual Triangle
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132 |
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24. The Visual Triangle: First Rule
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133 |
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25. The Visual Triangle: Second Rule
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134 |
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26. The Pyramid of Rays
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134 |
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27. The Pyramid Has the Shape of an Oblong Body
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135 |
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28. The Potentialities and Task of the Median Rays
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136 |
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29. The Median Rays over a Long Distance
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137 |
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30. Equal Adjacent Angles
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138 |
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31. The Centric Ray Is Called the Leader and Even the Prince of Rays
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139 |
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32. The Reception of Light: The Candlelight
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140 |
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33. The Reception of Light: The Sun
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141 |
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34. Lights and Colors
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142 |
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35. The Colors
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142 |
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36. The Four Elements
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143 |
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37. The Green Color Species
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143 |
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38. The Sky-Blue Color Species
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144 |
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39. The Red Color Species
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145 |
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40. The Ash Color Species
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145 |
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41. The Lights of the Stars: The Sun, the Moon, and Lucifer
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146 |
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42. The Shadows of Fire
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147 |
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43. Figure 3 in Grayson, 1991 (p. 47)
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148 |
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44. The Reflection of Rays
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149 |
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45. The Visual Pyramid
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150 |
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46. The Visual Pyramid and the Cut
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151 |
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47. A Discussion about Surfaces: 1
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152 |
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48. A Discussion about Surfaces: 2
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153 |
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49. The Proposition of Mathematicians
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154 |
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50. The Proportional Triangles: 1
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155 |
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51. The Proportional Triangles: 2
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156 |
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52. A Certain Comparison
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157 |
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53. The Proportional Triangles: 3
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158 |
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54. Figure 5 in Grayson, 1991 (p. 50)
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158 |
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55. The Proportional Visual Triangles
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159 |
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56. Equidistant Quantities from the Cut
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160 |
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57. Equidistant Surfaces from the Cut
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161 |
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58. Surfaces Not Equidistant from the Cut
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162 |
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59. Quantities Equidistant from the Visual Rays
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163 |
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60. Quantities Collinear to the Visual Rays
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164 |
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61. The Theorem of Distance
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165 |
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62. Figure 7 in Grayson, 1991 (p. 52)
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165 |
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63. The Scale of Representation
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166 |
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64. Man Is the Model and the Measure of All Things
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166 |
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65. An Open Window
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167 |
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66. The Centric Point: 1
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168 |
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67. The Centric Point: 2
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169 |
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68. A Wrong Way of Painting: 1
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170 |
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69. A Wrong Way of Painting: 2
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171 |
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70. The Miracles of Painting
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172 |
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71. An Excellent Method: 1
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173 |
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72. An Excellent Method: 2
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174 |
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73. The Mirror and the Painting
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175 |
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74. The Veil
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176 |
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75. The Veil and the Drawing of Profiles of Small Surfaces
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177 |
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76. The Calculation of Parallels Through Sight
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178 |
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77. Spherical Concave and Convex Surfaces
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179 |
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78. The Drawing of Profiles of Very Great Surfaces: 1
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180 |
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79. The Drawing of Profiles of Very Great Surfaces: 2
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181 |
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80. The Circular Surfaces
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182 |
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81. The Circle
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183 |
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82. Figure 14 in Grayson, 1991 (p. 70)
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184 |
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83. The Profile According to the Shadow of a Lamp
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184 |
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84. The Faces
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185 |
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85. The Bones, the Nerves, the Muscles
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186 |
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86. The Height of a Man
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186 |
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87. One Praises a Historia
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187 |
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88. One Blames a Historia
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188 |
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89. The Historia: Hands, Fingers, Feet, Arms, Flexions, Actions
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189 |
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90. The Historia: Nude, Partly Nude, Partly Veiled
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190 |
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91. The Historia: From That Side of the Face
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191 |
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92. The Historia: That Covered Head
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191 |
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93. The Historia: The Activity of the Mind
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191 |
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94. The Historia: Someone Who Informs the Spectators
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192 |
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95. Seven Movements
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192 |
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96. Body Movements in Accordance to a Certain Harmony: The Head, the Eyes
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193 |
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97. Body Movements in Accordance to a Certain Harmony: The Elbow, the Knee, the Foot
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194 |
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98. Body Movements in Accordance to a Certain Harmony: A Hand Upward, the Heel
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195 |
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99. Movements of Inanimate Things: Air and Horses’ Manes
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196 |
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100. Movements of Inanimate Things: The Bends and Curves of Branches
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197 |
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101. Movements of Inanimate Things: The Folds of Fabrics
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198 |
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102. Movements of Inanimate Things: Clothes, Dresses, and Wind
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199 |
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103. Surfaces, Lights, and Colors: Plane Surface and Opposite Surface
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200 |
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104. Surfaces, Lights, and Colors: Spherical Surface
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201 |
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105. Creativity: That Famous Description of Calumny
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202 |
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106. Creativity: The Three Graces
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202 |
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107. Differences in the Members: The Nose
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203 |
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108. Differences in the Members: The Legs
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203 |
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109. Schemes
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204 |
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110. The Prize for My Toils
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205 |