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9781107000629 - Leon Battista Alberti: On Painting - A New Translation and Critical Edition - By Rocco Sinisgalli
Frontmatter/Prelims

Leon Battista Alberti: On Painting: A New Translation and Critical Edition

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.


Leon Battista Alberti: On Painting

A New Translation and Critical Edition

Rocco Sinisgalli

University of Rome, La Sapienza


CAMBRIDGE UNIVERSITY PRESS
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© Rocco Sinisgalli 2011

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2011
Printed in the United States of America

A catalog record for this publication is available from the British Library.

Library of Congress Cataloging in Publication data

Alberti, Leon Battista, 1404–1472.
[De pictura. English]
Leon Battista Alberti : On painting : a new translation and critical edition / Leon Battista
Alberti ; [translated by] Rocco Sinisgalli.
p. cm.
Includes bibliographical references and index.
ISBN 978-1-107-00062-9 (hardback)
1. Painting – Early works to 1800. I. Sinisgalli, Rocco.
II. Title. III. Title: On painting.
ND1130.A4813 2010
0.750–dc22 2010027685

ISBN 978-1-107-00062-9 Hardback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate.


To Raffaela


Contents

List of Illustrations
ix
Acknowledgments
xiii
Introduction
1
From Tuscan to Latin, and Not Vice Versa
3
Johannes Regiomontanus, Albrecht Dürer, and the Editio Princeps
4
The Tuscan Vernacular Text, Its Prologue, and Its Dedication to Brunelleschi
7
The False Priority of Latin
9
The Florentine Tradition
11
From Janitschek to Grayson
13
Text
15
Prologue Addressed to Filippo Brunelleschi
17
Letter to Giovanni Francesco
20
Book One: The Rudiments
22
Book Two: The Picture
44
Book Three: The Painter
74
Appendixes
87
Appendix 1:   Limitations of Grayson’s Studies on De Pictura
89
Appendix 2:   First Doubts
93
Notes
95
Illustrations
113
Selected Bibliography
207
Index of Names (Albertian Text)
213

Illustrations

1.          The Point. The Line
113
2.          The Surface. The Extreme Part of a Body
114
3.          The First Quality of a Surface: The Known External Path
115
4.          The Circle
116
5.          Rectilinear Figures and Their Transformation
117
6.          The Angles
118
7.          The Other Quality of a Surface: The Skin or the Dorsal Extension
119
8.          The Uniform and Plane Surface
119
9.          The Spherical Surface
119
10.         The Sphere
120
11.         The Sphere: What Does “in Every Aspect” Mean?
121
12.         The Concave Surface
122
13.         The Composite Surface of the Cylinder
123
14.         The Composite Surface of the Cone
124
15.         The Pyramids and the Cones
125
16.         If the Distance or Position Changes
126
17.         The Visual Rays: Intromission Theory
127
18.         The Visual Rays: Expulsion Theory
128
19.         The Extreme Rays
129
20.         The Median Rays
129
21.         The Centric Ray
130
22.         The Potentialities and Task of the Extreme Rays
131
23.         The Visual Triangle
132
24.         The Visual Triangle: First Rule
133
25.         The Visual Triangle: Second Rule
134
26.         The Pyramid of Rays
134
27.         The Pyramid Has the Shape of an Oblong Body
135
28.         The Potentialities and Task of the Median Rays
136
29.         The Median Rays over a Long Distance
137
30.         Equal Adjacent Angles
138
31.         The Centric Ray Is Called the Leader and Even the Prince of Rays
139
32.         The Reception of Light: The Candlelight
140
33.         The Reception of Light: The Sun
141
34.         Lights and Colors
142
35.         The Colors
142
36.         The Four Elements
143
37.         The Green Color Species
143
38.         The Sky-Blue Color Species
144
39.         The Red Color Species
145
40.         The Ash Color Species
145
41.         The Lights of the Stars: The Sun, the Moon, and Lucifer
146
42.         The Shadows of Fire
147
43.         Figure 3 in Grayson, 1991 (p. 47)
148
44.         The Reflection of Rays
149
45.         The Visual Pyramid
150
46.         The Visual Pyramid and the Cut
151
47.         A Discussion about Surfaces: 1
152
48.         A Discussion about Surfaces: 2
153
49.         The Proposition of Mathematicians
154
50.         The Proportional Triangles: 1
155
51.         The Proportional Triangles: 2
156
52.         A Certain Comparison
157
53.         The Proportional Triangles: 3
158
54.         Figure 5 in Grayson, 1991 (p. 50)
158
55.         The Proportional Visual Triangles
159
56.         Equidistant Quantities from the Cut
160
57.         Equidistant Surfaces from the Cut
161
58.         Surfaces Not Equidistant from the Cut
162
59.         Quantities Equidistant from the Visual Rays
163
60.         Quantities Collinear to the Visual Rays
164
61.         The Theorem of Distance
165
62.         Figure 7 in Grayson, 1991 (p. 52)
165
63.         The Scale of Representation
166
64.         Man Is the Model and the Measure of All Things
166
65.         An Open Window
167
66.         The Centric Point: 1
168
67.         The Centric Point: 2
169
68.         A Wrong Way of Painting: 1
170
69.         A Wrong Way of Painting: 2
171
70.         The Miracles of Painting
172
71.         An Excellent Method: 1
173
72.         An Excellent Method: 2
174
73.         The Mirror and the Painting
175
74.         The Veil
176
75.         The Veil and the Drawing of Profiles of Small Surfaces
177
76.         The Calculation of Parallels Through Sight
178
77.         Spherical Concave and Convex Surfaces
179
78.         The Drawing of Profiles of Very Great Surfaces: 1
180
79.         The Drawing of Profiles of Very Great Surfaces: 2
181
80.         The Circular Surfaces
182
81.         The Circle
183
82.         Figure 14 in Grayson, 1991 (p. 70)
184
83.         The Profile According to the Shadow of a Lamp
184
84.         The Faces
185
85.         The Bones, the Nerves, the Muscles
186
86.         The Height of a Man
186
87.         One Praises a Historia
187
88.         One Blames a Historia
188
89.         The Historia: Hands, Fingers, Feet, Arms, Flexions, Actions
189
90.         The Historia: Nude, Partly Nude, Partly Veiled
190
91.         The Historia: From That Side of the Face
191
92.         The Historia: That Covered Head
191
93.         The Historia: The Activity of the Mind
191
94.         The Historia: Someone Who Informs the Spectators
192
95.         Seven Movements
192
96.         Body Movements in Accordance to a Certain Harmony: The Head, the Eyes
193
97.         Body Movements in Accordance to a Certain Harmony: The Elbow, the Knee, the Foot
194
98.         Body Movements in Accordance to a Certain Harmony: A Hand Upward, the Heel
195
99.         Movements of Inanimate Things: Air and Horses’ Manes
196
100.        Movements of Inanimate Things: The Bends and Curves of Branches
197
101.        Movements of Inanimate Things: The Folds of Fabrics
198
102.        Movements of Inanimate Things: Clothes, Dresses, and Wind
199
103.        Surfaces, Lights, and Colors: Plane Surface and Opposite Surface
200
104.        Surfaces, Lights, and Colors: Spherical Surface
201
105.        Creativity: That Famous Description of Calumny
202
106.        Creativity: The Three Graces
202
107.        Differences in the Members: The Nose
203
108.        Differences in the Members: The Legs
203
109.        Schemes
204
110.        The Prize for My Toils
205



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