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![1. Porte intérieure du Temple de Tentyris [Dandara]; 2. Vue géométrale du portique du Temple de Tentyris [Dandara].](https://cache.getarchive.net/Prod/thumb/cdn6/L3Bob3RvLzE4MjkvMTIvMzEvMS1wb3J0ZS1pbnRlcmlldXJlLWR1LXRlbXBsZS1kZS10ZW50eXJpcy1kYW5kYXJhLTItdnVlLWdlb21ldHJhbGUtZHUtcG9ydGlxdWUtNmVlODEzLTY0MC5qcGc%3D/40/48/webp "1. Porte intérieure du Temple de Tentyris [Dandara]; 2. Vue géométrale du portique du Temple de Tentyris [Dandara].")
L'architettura (1565) (14594604359)
Summary
Identifier: larchitettura00albe (find matches)
Title: L'architettura
Year: 1565 (1560s)
Authors: Alberti, Leon Battista, 1404-1472 Alberti, Leon Battista, 1404-1472. De re aedificatoria. Italian. 1565 Alberti, Leon Battista, 1404-1472. De pictura. Italian. 1565 Bartoli, Cosimo, 1503-1572 Domenichi, Lodovico, 1515-1564
Subjects: Architecture Painting
Publisher: Monte Regale : Appresso Lionardo Torrentino
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute
Text Appearing Before Image:
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Text Appearing After Image:
Ma ii8 DELLA ARCH1TETTVRA. Ma appreffo de gli antichi quel che fece Tolomeo neh Ifola del faro mi piacque grandif-(ìmamcnte,ilquale per vtilità de Nauigantimcffe per conto della notte incima della Torrefuochi graridifsimi,che ftauano fofpcfi & caminauano cmtinouamente , accioche da lon-tano le fiamme non fufsino tenute in cambio di Aclle;& immagini mobili ancora, che mo-(Irauano che vento,ò da qual parte del mondo tiraffe,&inqualpartc del Ciclo fuffeilSo- 5le,& quanto egli haueffe confumato del giorno, & fimilcofe) che in fimili luoghi farannomolto a propofito3horfia di loro detto a baftanza. Velie Brade più principali della Città,& come fi adornino le por t e J Porti, & i Ton-figli ^Areici i Kifcontri di più Vie, & la Piazza : Cap. XJI. H Abbiamo da qui inanzi adentrare nella Cittade, ma cflendoci alcune flrade moltopiù degne,& dentro , & fuori della Città, che non fono le ordinarie di loro natura ,come fonquelle,che ne conducono al tem
Early Renaissance or Quattrocento (Italian mille quattrocento, or 1400) refers to the 15th century in Florentine art. Extraordinary wealth was accumulated in Florence among a growing middle and upper class of merchants and bankers. Florence saw itself as a city-state where the freedom of the individual was guaranteed, and where a significant share of residents had the right to participate in the government. In 1400 Florence was engaged in a struggle with the Duke of Milan. Then, between 1408 and 1414 again, by the King of Naples. Both died before they could conquer Florence. In 1425 Florence won the war against Milan. The Florentine interpreted these victories as signs of God's favor and imagined themselves as the "New Rome". In this new optimistic and wealthy environment, Florentine artists immersed themselves in studies of the humanities, architecture, philosophy, theology, mathematics, science, and design. They spurred a rejuvenation of the glories of classical art in line with the humanistic and individualistic tendencies of the contemporary era. Quattrocento was followed by the High Renaissance, North European Renaissance, Mannerism, and Baroque periods. Unlike the previous proto-renaissances, the innovations that emerged in Florence would go on to cause reverberations in Italy and Northern Europe, which continue to influence culture until today.
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