BRAMANTE / LAURANA

02 - LEON BATTISTA ALBERTI

Tempio Malatestiano Rimini, Italy

Alberti’s superimposition of the shell onto the gothic interior suggests a Renaissance reinterpretation and reinscription over the pre-existing church. Ostensibly, the side façade seems to employ a Roman interpretation and the front facade seems to employ a predominantly Greek interpretation. In Tempio Malatestiano, I believe there are three different interpretations of the pillars and columns. Firstly, the pillar is treated as an ornament (black bold) where the mere cap of the pilaster is existent, creating an impression that the pilaster is subsumed into the wall. Secondly, the pillar acts as an element supporting an arch (red). On the side façade, entablatures are disconnected between pillars; the pillars are equivalent to walls suggesting a Roman interpretation of arches resembling the Colosseum. This draws a clear distinction with the pilasters attached in the Gothic interior – although only as an ornament – suggesting an arch supported by pillars, not passively allowing pillars to be subsumed into walls; a method still prevalent prior to Brunelleschi. Lastly, on the front façade, columns are introduced on the first story, not as support for arches, but extend to the continuous entablature dividing the two stories (black hatch). Although the columns are manifested as ornaments, it seemingly possesses a Greek interpretation of the column as a structural component. It is also worth noting the middle columns extending towards the second story, being converted back into pilasters, as it is subsumed into an arch. This complies with Alberti’s insistence on employing pillars for arches (second interpretation) and in terms of relativity to the side façade, manifest itself as an ornament (first interpretation).