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L.B. Alberti's De re aedificatoria and Filarete's Trattato di architectura are earliest examples of the collaboration between artist and scholar in the Italian Renaissance. It is the theory of architecture as humanistic discipline beyond the extent of practieal building techniques the Renaissance developed, and these two texts show us the inaugural shape of the language of architectural theory based on the author's practieal experiences and the newly recovered ancient learning of the 15th century. Both Alberti and Filarete intended to write architectural treatises for humanist readers. Such an undertaking required new linguistie thesaurus and writing format, as the authors wrote to claim a higher position in the social stratum for reformed discipline of the architect and artist. And it is also the reason why the targeted readers of these two treatises were also the patrons, not just architects and craftsmen, as the authors wanted to persuade the educated patrons of significance and nobleness of architecture.
Vitruvius's De architectura acted as a catalyst for Alberti, whose reception of this ancient text was somewhat ambivalent. He criticized Vitruivus' unintelligible Latinity and Hellenocentrie perspective, and tried to provide 'authentic' linguistic structure and architectural contents. Alberti emphasized the contribution of ancient Etruria and Rome to the development of architectural history, especially the moral quality of Roman architecture. In De re aedificatoris Alberti introduced the classieal concept of virtus as the principle of Roman architecture, conveying excellence and activism of a person in civic life and society, and applied this concept to the future model. For him, virtus of the architect means the intentions and capabilities to achieve harmony of utility and beauty of the whole city and individual buildings in order to help the members of a society effectively function for the public good. His elevated writing style and exhibition of extensive knowledge of classical antiquity was for the learned readers of high social rank, that is, the patrons and the humanist architects who conduct city-planning and building design.
Although the purpose of both authors was to improve the image of architecture and architect in general, Filarete's approach differed from Alberti. Unlike Alberti who wrote in Latin only, Filarete wrote his treatise in vulgar Italian with related illustrations. His intention was to be understood by more readers, but it is also related to his craftsman origins and active career as a sculptor and architect at the Sforza court, Not familiar with ancient text in spite of his fascination with Creek architecture, Filarete represented his concept of ideal architecture more freely than Alberti. He too frequently referred to antiquity in order to meet the taste of 15th century readers as well as to decorate the practice of building construction with erudition of the liberal arts, but his application of classical text and architectural norm was somewhat arbitrary and eclectic. In addition, Filarete's heavy reliance on illustrations reveals not only the importance of 'disegno' for the building process but also the central role of his personal imagery in the subject of architectural principle. This is the reason why his treatise has been nearly neglected to the present. And yet, both treatises are the landmark in the development of architectural theory in the early Italian Renaissance that arose from the medieval tradition of building technique, the enthusiastic atmosphere for then newly rediscovered classical text, and the liberal spirit of artistic practice.
Vitruvius's De architectura acted as a catalyst for Alberti, whose reception of this ancient text was somewhat ambivalent. He criticized Vitruivus' unintelligible Latinity and Hellenocentrie perspective, and tried to provide 'authentic' linguistic structure and architectural contents. Alberti emphasized the contribution of ancient Etruria and Rome to the development of architectural history, especially the moral quality of Roman architecture. In De re aedificatoris Alberti introduced the classieal concept of virtus as the principle of Roman architecture, conveying excellence and activism of a person in civic life and society, and applied this concept to the future model. For him, virtus of the architect means the intentions and capabilities to achieve harmony of utility and beauty of the whole city and individual buildings in order to help the members of a society effectively function for the public good. His elevated writing style and exhibition of extensive knowledge of classical antiquity was for the learned readers of high social rank, that is, the patrons and the humanist architects who conduct city-planning and building design.
Although the purpose of both authors was to improve the image of architecture and architect in general, Filarete's approach differed from Alberti. Unlike Alberti who wrote in Latin only, Filarete wrote his treatise in vulgar Italian with related illustrations. His intention was to be understood by more readers, but it is also related to his craftsman origins and active career as a sculptor and architect at the Sforza court, Not familiar with ancient text in spite of his fascination with Creek architecture, Filarete represented his concept of ideal architecture more freely than Alberti. He too frequently referred to antiquity in order to meet the taste of 15th century readers as well as to decorate the practice of building construction with erudition of the liberal arts, but his application of classical text and architectural norm was somewhat arbitrary and eclectic. In addition, Filarete's heavy reliance on illustrations reveals not only the importance of 'disegno' for the building process but also the central role of his personal imagery in the subject of architectural principle. This is the reason why his treatise has been nearly neglected to the present. And yet, both treatises are the landmark in the development of architectural theory in the early Italian Renaissance that arose from the medieval tradition of building technique, the enthusiastic atmosphere for then newly rediscovered classical text, and the liberal spirit of artistic practice.
목차
Ⅰ. 서론
Ⅱ. 저술
Ⅲ. 이미지 : 도판과 심상
Ⅳ. 결론
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