"I have noticed in the Basilica of St. Peter's in Rome a crass feature: an extremely long and high wall has been constructed over a continuous series of openings, with no curves to give it strength, and no buttresses to lend it support. It is worth noting that the whole stretch of wall has been pierced by too many openings and built too high, and positioned where it will bear the violence of Aquilo. As a result, the continual force of the wind has already displaced the wall more than six feet from the vertical; I have no doubt that eventually some gentle pressure or slight movement will make it collapse. Indeed it is quite likely that, had it not been restrained by the roof trusses, it would have collapsed of its own accord already, once it had begun to lean. But perhaps the architect may be excused a little, since, being hemmed in by location and site, he may have considered the hill overlook-ing the temple sufficient protection from the winds. I would prefer, however, those whole sections of wall to be strengthened on both sides."

Leon Battista Alberti, On the Art of Building in Ten Books, trans. Joseph Rykwert et al., (Cambridge 1988), p. 26.

Biographical Note
Alberti, Leone Battista1404–72, Italian architect, musician, painter, and humanist, active at the papal court, Florence, Rimini, and Mantua. Alberti was the first architect to argue for the correct use of the classical orders during the Renaissance. His ecclesiastical works include the exteriors of the churches of San Francesco in Rimini (begun 1451), Sant’ Andrea in Mantua (c.1470), and part of the facade of Santa Maria Novella in Florence (c.1458–70). On the facade of the Palazzo Rucellai in Florence (c.1452–70), Alberti used tiers of superimposed classical orders, as inspired by such antique buildings as the Roman Colosseum. Alberti was the author of several important treatises on the visual arts. His De re aedificatoria, written c.1450, became the first printed book on architecture (1485). Although largely dependent on Vitruvius, it was the first modern work on the subject, and it included important new material. His treatise on painting (1436) was the first book in this field to treat theory as well as technique. His treatise on sculpture (c.1464) was another pioneering work in its field, and it was significant for its discussion of human proportions.

See his On Painting, tr. by J. R. Spencer (rev. ed. 1966) and his Ten Books of Architecture, tr. by G. Leoni (1755, repr. 1986); biography by A. Grafton (2000).

The Columbia Encyclopedia, Sixth Edition. Copyright © 2001 Columbia University Press.