Architecture - Rare Book Collections

Introduction to the Author

Leon Battista Alberti (1404-1472) received a humanistic education in the Veneto, before earning a doctorate in canon law from the University of Bologna. Following his studies, he worked as a papal secretary in Rome and thereafter as an architect for influential patrons in various Italian cities. Some of his notable building projects include the reconstructions of the façades of churches Santa Maria Novella in Florence and Tempio Malestina in Rimini. These façades, based on Roman temple designs, demonstrate the architect’s knowledge of and adherence to classical building principles. In addition to his building projects, Alberti gained recognition for this theoretical treatises. For example, his Della famiglia (On the Family), is a philosophical work on issues of education, marriage, and household management. His first treatise on art, Della pittura (On Painting), is a commentary on painting which emphasizes the importance of mathematics for artists. His subsequent publications on visual culture included De statua (On Sculpture) and De re aedificatoria (On the Art of Building). 

Introduction to the Treatise (De re aedificatoria)

Alberti’s architectural treatise, completed around 1452 and published posthumously in 1485, became the first printed book on architecture. De re aedificatoria represents the first book on architecture since antiquity, or Vitruvius’s composition of De architectura. Alberti’s treatise features organizational and thematic similarities to Vitruvius’s influential text. Like the ancient author, the Renaissance humanist arranges his architectural advice into ten books. Yet, as contemporary historian Joseph Rykwert rightly observes, the fundamental difference between the two treatises can be summarized as follows: “the ancient writer [Vitruvius] tells you how the buildings that you may admire as you read him were built, while Alberti is prescribing how the buildings of the future are to be built.” (Rykwert 1988, x). Alberti, motivated by a desire to reform rather than merely preserve the classical architectural tradition, writes for a broad audience. His treatise, written in elegant and refined Latin prose, is intended not only for architectural students, but also for elite audiences, including scholars and patrons of the arts. 

His ten books are organized around three principles of architecture, first put forward by Vitruvius: firmitas (strength), utilitas (utility), and venustas (beauty). Books 1, 2, and 3, “The Lineaments,” “Materials,” and “On Construction,” are concerned with the issue of firmitas. They address practical concerns including prime locations for buildings, advisable materials, and building foundations. Books 4 and 5, “On Public Works,” and “On the Works of Individuals,” focus on the concept of utilitas. In these books, buildings are categorized and discussed according to their functions—public or private. Books 6, 7, 8, and 9, “On Ornament,” “Ornament to Sacred Buildings,”  “Ornament to Public Secular Buildings,” and “Ornament to Private Buildings,” turn to the topic of venustas. They address the interior and exterior decoration of buildings. As its title suggests, the tenth and final book of the treatise, “Restoration of Buildings,” addresses issues of renovation and restoration.

Reception and Legacy

Alberti’s treatise was first published with an introduction by humanist scholar Angelo Poliziano. Poliziano dedicates the work to Lorenzo de Medici (1449-1492), the de facto ruler of Florence and arguably most famous Renaissance patron of the arts. Poliziano imparts Lorenzo with the following instructions: “give this book a place of honor in your library, read it carefully yourself, and make sure that it is widely published.” (as Translated/Quoted in Rykwert 1988, 1). Polizano’s advice became reality: Alberti’s treatise circulated widely in the years following its publication. By 1487, for instance, a copy of the book had already reached England. The first translations of the text appeared in the following century. De re aedifictoria was printed in Italian, French, German, and later in English. Its success went hand in hand with the growing recognition of its author. Alberti, already in his time and even more so in later centuries, became a prime example of an uomo universale, or the ideal Renaissance man. The resounding influence of Alberti and his architectural treatise is eloquently summarized by the seventeenth-century English historian William Roscoe in his Life of Lorenzo de’ Medici:

His [Alberti’s] principal merit is certainly to be sought for his useful discoveries and perceptive writings. He was the first author who attempted practical treatises on  the arts of design, all of which, but more particularly his treatise on architecture, are allowed to exhibit a profound knowledge of his subject, and will long continue to do honor to his memory...(Roscoe 1796, I: 88-89).

Introduction to the Author

Little is known about the life of Marcus Vitruvius Pollio (c. 90 - c. 20 B.C.). His influential treatise De Architectura Libri Decem (The Ten Books of Architecture) offers some insight into his upbringing and career. Through his descriptions in De Architectura, we can infer that Vitruvius was born and educated in Campania or Rome. There he trained as an engineer and a builder of war machines and weapons. Vitruvius began his career as a military architect for Julius Caesar and continued working for his successor, Octavian-Augustus. It is possible he accompanied the Roman emperors on their campaigns to regions near and far, including Northern Italy, Gaul, and North Africa.

Introduction to the Treatise (De Architectura Libri Decem)

Vitruvius’s treatise, completed around 20 B.C., reflects nearly forty years of work. Vitruvius expresses his composition’s instructive function in the dedication to Octavian-Augustus:

I have set down these instructions, complete with technical terms, so that by observing them you could teach yourself how to evaluate the works already brought into being and those yet to be. For in these pages I have laid out every set of principles for the discipline… (As Translated/Quoted in Rowland 1999, 21).

The text that follows comprises ten books. The first concerns the education of architects: Vitruvius explores why architects should be well-versed in many disciplines, including geometry, philosophy, law, and music. Book 2 offers an overview of popular materials and techniques used in the construction of buildings. Books 3 and 4 explore the designs and proportions of ancient Greek temples while Books 5 and 6 turn to the constructions of other buildings, including public structures such as baths and private spaces such as homes. Book 7 focuses on interior design, or the decoration of floors, walls, and ceilings. The final three books address technical issues, including the construction of aqueducts and other hydraulic structures, sundials and other timepieces, and catapults and other machines.

Reception and Legacy

Today Vitruvius’s treatise is regarded as one of the most important texts on architecture. While it enjoyed some attention in the Classical and Medieval periods, it was not until the Renaissance that its popularity took off. As De Architectura represents the only surviving architectural treatise from classical antiquity, it became a prized text among antiquity-hungry humanists in fifteenth-century Italy. The work was first published in its original Latin in 1487. It was soon after translated into Italian and later into other languages, including French, German, and English. De Architectura became a foundational and authoritative text for many Renaissance architectural theorists, including Leon Battista Alberti (1404-1472), Sebastiano Serlio (1475- c. 1554) and Andrea Palladio (1508-1580). Simply put, it was “the text on architecture to which, at least until the eighteenth century, all other texts referred.” (McEwen 2003, 1).  

Introduction to the Author

Andrea Palladio, born Andrea di Pietro della Gondola (1508-1580) in Padua, trained as a stonecutter and stone mason in the Veneto. At the age of thirty, Andrea undertook an architectural project that changed the trajectory of his career: renovating the villa of patrician and humanist, Count Giangiorgio Trissino. The two developed a close relationship. Palladio joined Trissino’s humanist academy, where he became acquainted with some of the classical principles that influenced his architectural treatise. Through Trissino he was also introduced to notable patrons of arts and culture, including Alvise Cornaro, as well as leading artists and architects, including Sebastiano Serlio. In addition to his humanist education and interactions with influential figures, Palladio derived artistic inspiration from his sojourns to Rome–specifically through observing and drawing ancient and then-contemporary monuments.

Such experiences and interactions formed the basis for Palladio’s architectural projects and subsequent treatise. Throughout the course of his career, he designed and oversaw the construction of many private residences, including Villas Godi and Foscari in the Veneto. Palladio also designed secular and sacred public buildings, including the Teatro Olimpico (Olympic Theater) in Vicenza and the Church of San Giorgio Maggiore in Venice. He died in the Veneto countryside at Maser, where he designed Villa Barbaro: the suburban residence of the aforementioned author, the Vitruvius scholar and humanist, Daniele Barbaro.

Introduction to the Treatise (I Quattro Libri dell’Architectura) 

Palladio’s sole treatise, I Quattro Libri dell’Architectura (The Four Books on Architecture), was published in Venice in 1570. The architectural tractate, which in its first edition comprised four volumes, represents nearly two decades of work. Its publication fits well amongst the architectural treatises of his Renaissance predecessors and successors, including Sebastiano Serlio and Vincenzo Scamozzi, who sought inspiration from both classical building theory and Renaissance principles. In his foreword to the readers, Palladio reveals the influence of the founding father of architectural writing to his work, stating: “I elected as my master and guide Vitruvius, who is the only ancient writer on this art” (Palladio 2002, 5). By engaging in direct conversation with Vitruvius, Palladio positions himself amongst the ranks of humanist scholars, including Leon Battista Alberti, who concerned themselves with interpreting and challenging the ancient treatise writer. 

Palladio’s work marks a departure from previous architectural treatises, including Alberti’s De re aedificatoria, in both its style and function. I Quattro Libri achieves a successful balance between text and image: highly detailed woodcuts accompany nearly every idea or work presented. Moreover, Palladio’s treatise combines years of personal experience with knowledge of classical and Renaissance architecture and culture. It was designed for, and made accessible, just as much to architects and students of architecture as it was to future patrons of building projects. 

As suggested by its title, the treatise is structured thematically into four books. The first book, summarized as the book which offers “a brief discourse on the five orders and on those rules [avertimento] which are essential to building” addresses preparations for construction (Fig. 8; Translated in Palladio 2002, 3). Palladio discusses issues of materiality and technique, and includes a detailed description of the various architectural orders, including the five column types. The second book, “which contains drawings of many houses designed [ordinare] by him within and outside the city and the designs of the ancient houses of the Greeks and Latins,” turns to complete building projects (Fig. 9; Translated in Palladio 2002, 76). By juxtaposing images of ancient dwellings with his contemporary plans for Italian villas and palaces, Palladio demonstrates how his own designs draw inspiration from classical prototypes. The third book, “in which roads, bridges, squares, basilicas, and xysti are described,” turns to public works (Fig. 10; Translated in Palladio 2002, 160). Again, Palladio displays ancient examples next to both his own and other contemporary Renaissance designs. The fourth book, “in which the ancient temples in Rome and some others in and outside Italy are described and illustrated” addresses sacred architecture (Fig. 11; Translated in Palladio 2002, 212). This book focuses predominantly on ancient architectural works in Rome, both pagan and Christian, ranging from the Temple of Mars the Avenger to the Baptistery of Constantine. The only modern construction presented is Renaissance architect Donato Bramante’s Tempiettto, a small tomb in the Church of San Pietro in Montorio in Rome. 

Reception and Legacy

In the Western world, Palladio is regarded as one of the most influential and well-studied architects. His designs and building plans gained popularity in Italy and abroad, thanks to the wide circulation of his treatise. Written in an accessible Italian, I Quattro Libri was first translated in 1580 into Latin. Thereafter, translations followed in Spanish, French, and English. The popularity of the printed treatise coincides with the popularity of Palladianism, the architectural style based on Palladio’s approach to building. Palladianism, introduced and promoted by the English architect Inigo Jones (1573-1652), emerged in seventeenth-century Britain and subsequently spread to the British colonies in North America. Thomas Jefferson exemplifies one notable figure impacted by Palladianism. The president and architect owned a copy of I Quattro Libri and sought Palladio as his guide for several architectural projects, including his plantation of Monticello and the University of Virginia’s library. Palladio’s legacy lives on to this day. Exhibitions such as the Royal Academy of Art’ “Andrea Palladio: Through the Eyes of Contemporary Architects,” (2009), suggest that Palladio’s ideas will continue to influence and inspire future generations of architects for years to come.

Introduction to the Author

Sebastiano Serlio, born in Bologna in 1475, worked as a painter and architect in several European art centers. His career began in Pesaro and continued in Rome, where he joined the atelier of High Renaissance artist and architect Baladassare Peruzzi. Following the Sack of Rome in 1527, Serlio relocated to Venice. There he forged ties with prominent cultural and artistic figures, including writer Pietro Aretino, sculptor and architect Jacopo Sansovino, and painter Titian. While in Venice, Serlio worked on several architectural projects and occupied himself with writing and publishing the first installments of his architectural treatise. Serlio’s final move was to the court of King François I in 1539. The French monarch appointed Serlio as his “premier peintre et architecte (primary painter and architect)” at his residence in Fontainebleau (Hart and Hicks 1996, xiii). There he designed many works, including the Salle de Bal (Ballroom), and continued work on his architectural treatise, before his death in 1554. 

Introduction to the Treatise (Tutte l'Opera d’Architettura)

Throughout his long career, Serlio concerned himself with one main writing project: composing a series of books on the art of architecture that became known as Tutte l’opera d’architettura et prospetiva di Sebastiano Serlio (Complete Works on Architecture and Perspective of Sebastiano Serlio). The series emerged in an asynchronous manner. Some books appeared during his lifetime while others came out posthumously. Their publication was sponsored by a variety of patrons, including Duke Ercole d’Este, ambassador Alfonso d’Avalos, and the King of France. 

Book IV was the first installment published. It appeared in Venice in 1537 and outlined the author’s intention of producing seven books. Books III, I and II, and V subsequently followed, and appeared as a set in 1551. Compilations of books continued to emerge in the following decades. The edition of 1584, held in Special Collections (Fig. 1), represents one of the most complete versions of the treatise. While missing Book VI, this edition includes a supplemental section, known as the “Extraordinary Book of Doors.” Today, contemporary scholars believe the complete treatise to include the seven books mentioned by Serlio in 1537, as well as two additional works: the “Extraordinary Book of Doors,” and Book VIII, which existed only in manuscript form until the late twentieth century. 

Each of Serlio’s books concentrates on a different subject. The first two books address practical architectural concepts of geometry and perspective. Book III focuses on antiquities yet illustrates both ancient and modern buildings. It features detailed woodcut illustrations of over fifty (predominantly Roman) monuments. These range from the ancient Pantheon to the Renaissance Tempietto. The next, and arguably most quoted book, Book IV, explores five distinct architectural orders: Tuscan, Doric, Ionic, Corinthian, and Composite. Serlio’s illustration of the architectural styles (Fig. 2) is particularly noteworthy: it marks a pivotal moment in the history of Renaissance art and architecture. As contemporary historian Caroline Elam observes, the “celebrated demonstration plate laying out the five orders with their respective capitals, bases and proportions…codified th[e] system [of the classical orders] for the first time.” (Elam 2005, 56). Serlio’s fifth and sixth books address specific building types and feature designs of both sacred and domestic constructions. The seventh book explores the concept of architectural accidents, or presents solutions to problems a practicing architect might encounter. The “Extraordinary Book of Doors,” nestled between books V and VI in the 1584 edition, features an array of elaborate designs for doorways and gates, (see Fig. 3 for an example). And lastly, the oft-overlooked Book VIII focuses on military architecture and fortifications. 

Serlio’s primary purpose in publishing his treatise was codification. His work represents an attempt, "to reconcile the text of Vitruvius with the ruins of antiquity and to establish rules for the proportioning and arrangement of every architectural element from the pedestal to the entablature." (Hart and Hicks 1996, xxi). Unlike his predecessors, or earlier Renaissance treatise writers such as Alberti, Serlio’s target audience is the practicing architect, not the noble patron. His work represents an illustrated handbook. It became one of the most user-friendly, and thus, popular architectural treatises of the early modern period. This was largely thanks to Serlio's ability to communicate his ideas in an accessible Italian and supplement each of his concepts with clarifying illustrations.

Reception and Legacy

Serlio’s treatise endured immediate success in Italy and beyond. By the start of the seventeenth century, select books were accessible in many European languages, including Spanish, Dutch, German, and English. The publication of nearly the entire treatise in England in 1611 is an indication of how quickly Serlio’s ideas spread across Europe. Despite its popularity, the treatise also fell victim to criticism. The great Renaissance biographer, Giorgio Vasari, believed that Serlio’s ideas were not entirely original. Rather, he considered them a reflection of Peruzzi’s teachings. Yet while Vasarian enthusiasts saw Serlio in a critical light, others praised and celebrated the architect and his magnus opus. John Summerson, a leading modern architectural historian, neatly summarizes Serlio’s lasting contribution to European architectural thinking:

The books became the architectural bible of the civilized world. The Italians used them, the French owed nearly everything to Serlio and his books, the German and Flemings based their own books on  his, the Elizabethans cribbed from him and Sir Christopher Wren was still finding Serlio invaluable when he built the Sheldonian at Oxford in 1663. (Summerson 1966, 10).

Fig. 1. Frontispiece of Tutte l'Opera d’Architettura (Venice: Francesco de’ Franceschi, 1584). Special Collections, Architecture Library of University of Notre Dame.

Fig. 2. "The Five Orders of Architecture" in Tutte l'Opera d’Architettura (Venice: Francesco de’ Franceschi, 1584). Special Collections, Architecture Library of University of Notre Dame.

Fig. 3. "Extraordinary Book of Doors" in Tutte l'Opera d’Architettura (Venice: Francesco de’ Franceschi, 1584). Special Collections, Architecture Library of University of Notre Dame.