THE TRIUMPHAL ARCH MOTIF IN SANT’ANDREA, MANTUA: RESPONDEO AND RHETORIC IN ALBERTI’S ARCHITECTURE AND THEORY by Tomaso Carrer Dissertation submitted for the degree of Doctor of Philosophy at the University of New South Wales Kensington campus, Sydney, NSW. March 2007. PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Carrer First name: Tomaso Other name/s: Abbreviation for degree as given in the University calendar: School: Architecture Faculty: Built environment Title: PhD Abstract 350 words maximum: (PLEASE TYPE) Leon Battista Alberti’s church of Sant’Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti’s corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant’Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti’s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a ‘sensitive suitability’ between parts. The analysis of the triumphal arch motif of Sant’Andrea suggests that formalism has played a more important role in Alberti’s design for this church than previously believed. This is by the motif’s rigorous outline changing between the interior nave and the exterior façade according to the observer’s different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the façade, seeks familiarity with the city’s surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant’Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS ABSTRACT Leon Battista Alberti’s church of Sant’Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti’s corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant’Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti’s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a ‘sensitive suitability’ between parts. The analysis of the triumphal arch motif of Sant’Andrea suggests that formalism has played a more important role in Alberti’s design for this church than previously believed. This is by the motif’s rigorous outline changing between the interior nave and the exterior façade according to the observer’s different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the façade, seeks familiarity with the city’s surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant’Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations. ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….............. COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... CONTENTS LIST OF ABBREVIATIONS i ACKNOWLEGMENTS ii INTRODUCTION 1 Construction of Sant’Andrea, 1472-1550 1 The west façade 3 CHAPTER 1. DIFFERENT INTERPRETATIONS OF THE TRIUMPHAL ARCH IN THE LATERAL PARTS OF THE NAVE AND THE WESTERN PORCH FACADE IN ALBERTI’S CHURCH OF SANT’ANDREA IN MANTUA 10 1.1 Interpretations of the triumphal arch repetition of Sant’Andrea in general works on Alberti 12 1.2 Interpretations of the triumphal arch repetition of Sant’Andrea in specialist works on Alberti 12 1.3 Heiner Mühlmann’s interpretation of the triumphal arch motif of Sant’Andrea 45 CHAPTER 2. ‘MOVENDO HABENDOSQUE ANIMOS’: TOWARDS A DEFINITION OF RESPONDEO IN DE RE AEDIFICATORIA 50 2.1 Alberti’s use of the verb respondeo in De Re Aedificatoria 56 2.1.1 Taste, answering, and ‘sensitive functionality’ 56 2.1.2 Building and body 59 2.1.3 Alberti’s finitio 62 2.1.4 Alberti’s geometrical construction 65 2.1.5 Alberti’s musical consonants and numerus 67 2.1.6 Alberti’s collocatio 71 APPENDICES 76 CHAPTER 3. THEORY AND PRACTISE: ALBERTI’S RESPONDEO AND THE TRIUMPHAL ARCH FAÇADE OF SAN FRANCESCO IN RIMINI 92 3.1 The theme of respondeo in Alberti’s architectural practice 92 3.1.1 The relationship between Alberti’s De Re Aedificatoria and his architectural work 93 3.1.2 The importance of Alberti’s letter to Matteo dè Pasti for the architectural theory in Sant’Andrea 97 3.1.3 Alberti’s respondeo in architecture 99 3.2 Alberti’s triumphal arch as an entrance motif: origins and 104