Leon Battista Alberti - Contributions

Contributions

Alberti made a variety of contributions to several fields:

Alberti was the creator of a theory called "historia". In his treatise De pictura (1435) he explains the theory, of the accumulation of people, animals, and buildings, which create harmony amongst each other, and "hold the eye of the learned and unlearned spectator for a long while with a certain sense of pleasure and emotion". De pictura ("On Painting") contained the first scientific study of perspective. An Italian translation of De pictura (Della pittura) was published in 1436, one year after the original Latin version and addressed Filippo Brunelleschi in the preface. The Latin version had been dedicated to Alberti's humanist patron, Gianfrancesco Gonzaga of Mantua. He also wrote works on, De Statua.
Alberti used his artistic treatises to propound a new humanistic theory of art. He drew on his contacts with early Quattrocento artists such as Brunelleschi and Masaccio to provide a practical handbook for the renaissance artist.
Alberti wrote an influential work on architecture, De Re Aedificatoria, which by the 18th century had been translated into Italian, French, Spanish and English. An English translation was by Giacomo Leoni in the early 18th century. Newer translations are now available.
Whilst Alberti's treatises on painting and architecture have been hailed as the founding texts of a new form of art, breaking from the gothic past, it is impossible to know the extent of their practical impact within his lifetime. His praise of the Calumny of Apelles led to several attempts to emulate it, including paintings by Botticelli and Signorelli. His stylistic ideals have been put into practice in the works of Mantegna, Piero della Francesca and Fra Angelico. But how far Alberti was responsible for these innovations and how far he was simply articulating the trends of the artistic movement, with which his practical experience had made him familiar, is impossible to ascertain.
He was so skilled in Latin verse that a comedy he wrote in his twentieth year, entitled Philodoxius, would later deceive the younger Aldus Manutius, who edited and published it as the genuine work of 'Lepidus Comicus'.
He has been credited with being the author, or alternatively the designer, of the woodcut illustrations of the Hypnerotomachia Poliphili, a strange fantasy novel.

He took great interest in studying the ruins of classical architecture in Rome and elsewhere. At Rome he was employed by Pope Nicholas V in the restoration of the papal palace and of the restoration of the Roman aqueduct of Acqua Vergine, which debouched into a simple basin designed by Alberti, which was swept away later by the Baroque Trevi Fountain. At Mantua he designed the church of Sant'Andrea, and at Rimini the church of San Francesco. On a commission from the Rucellai family he completed the principal facade of the church of Santa Maria Novella in Florence which had been begun in the previous century. He also built the facade for the family palace in the Via della Vigna Nuova, known as the Palazzo Rucellai, though it is not exactly clear what his role as designer was.
Alberti is also now thought to have had an important role in the designing of Pienza, a village that had been called Corsignano, but which was redesigned beginning around 1459. It was the birthplace of Aeneas Silvius Piccolomini, Pope Pius II, in whose employ Alberti served. Pius II wanted to use the village as a retreat but needed for it to reflect the dignity of his position. The design, which radically transformed the center of the town, included a palace for the pope, a church, a town hall and a building for the bishops who would accompany the Pope on his trips. Pienza is considered an early example of Renaissance urban planning.
Some studies propose that the Villa Medici in Fiesole might owe its design to Alberti, not to Michelozzo, and that it then became the prototype of the Renaissance villa. Maybe also that this hilltop dwelling, commissioned by Giovanni de' Medici, Cosimo il Vecchio's second son, with its view over the city, is the very first example of a Renaissance villa: that is to say it follows the Albertian criteria for rendering a country dwelling a "villa suburbana". Under this perspective the Villa Medici in Fiesole could therefore be considered the "muse" for numerous other buildings, not only in the Florence area, which from the end of the 15th century onwards find inspiration and creative innovation here.
Apart from his treatises on the arts, Alberti also wrote: Philodoxus ("Lover of Glory", 1424), De commodis litterarum atque incommodis ("On the Advantages and Disadvantages of Literary Studies", 1429), Intercoenales ("Table Talk", c. 1429), Della famiglia ("On the Family", begun 1432) Vita S. Potiti ("Life of St. Potitus", 1433), De iure (On Law, 1437), Theogenius ("The Origin of the Gods", c. 1440), Profugorium ab aerumna ("Refuge from Mental Anguish",), Momus (1450) and De Iciarchia ("On the Prince", 1468).These and other works were translated and printed in Venice by the humanist Cosimo Bartoli in 1586.
Alberti was an accomplished cryptographer by the standard of his day, and invented the first polyalphabetic cipher which is now known as the Alberti cipher and machine-assisted encryption using his Cipher Disk. The polyalphabetic cipher was, at least in principle, for it was not properly used for several hundred years, the most significant advance in cryptography since before Julius Caesar's time. Cryptography historian David Kahn titles him the "Father of Western Cryptography", pointing to three significant advances in the field which can be attributed to Alberti: "the earliest Western exposition of cryptanalysis, the invention of polyalphabetic substitution, and the invention of enciphered code" (David Kahn (1967). The codebreakers: the story of secret writing. New York: MacMillan.).
According to Alberti himself, in a short autobiography written c. 1438 in Latin and in the third person, (many but not all scholars consider this work to be an autobiography) he was capable of "standing with his feet together, and springing over a man's head." The autobiography survives thanks to an 18th century transcription by Antonio Muratori. Alberti also claimed that he "excelled in all bodily exercises; could, with feet tied, leap over a standing man; could in the great cathedral, throw a coin far up to ring against the vault; amused himself by taming wild horses and climbing mountains." Needless to say, many in the Renaissance promoted themselves in various ways and Alberti's eagerness to promote his skills should be understood, to some extent, within that framework. (This advice should be followed in reading the above information, some of which originates in this so-called autobiography.)
Alberti claimed in his "autobiography" to be an accomplished musician and organist, but there is no hard evidence to support this claim. In fact, musical posers were not uncommon in his day (see the lyrics to the song Musica Son, by Francesco Landini, for complaints to this effect.) He held the appointment of canon in the metropolitan church of Florence, and thus – perhaps – had the leisure to devote himself to this art, but this is only speculation. Vasari also agreed with this.
He was also interested in the drawing of maps and worked with the astronomer, astrologer, and cartographer Paolo Toscanelli.