Issued also as thesis, Munich. / On spine: Filarete. Bibliography: p. 178-191.

Filarete's treatise presents architecture, the new archaized mode of building, to Francesco Sforza as the means to historiate and recuperate his insurgent regime, which had overturned the preceding dynastic order of power. This thesis shows how the treatise tried to persuade a powerful but retardatory new prince not yet absorbed by the legitimizing narrative of a renascence of antiquity. It focuses on the treatise's narrative, and places it in its political situation, to show that Filarete made a dramatic, polemical opposition between building and architecture, which he will be shown to have defined as those techniques of assuring the arche.

No description available.

Antonio Averlino, known as Filarete (1400--1469), wrote that architecture is a gestational process, likening the architect to the mother and the father as the client. The process requires the architect-mother to " fantasticare e pensare e rivoltarselo per la memoria," fermenting ideas and incubating them in conjunction with one's memory. The intent is to understand mnemonics as a creative operation in Filarete's Trattato di Architettura. A key to this lies with Filarete's personal symbol, the bee. The bee's process of mellification acts as a metaphor of the architect's gestational design. The bee, long utilized as a memorative trope, points towards other memory models created throughout the treatise, culminating with the design for the House of Vice and Virtue. Directing the reader and inhabitants of the city in a social narrative, Filarete's architecture reveals the dependence upon remembrance and virtue for the city's creation and public rituals to sustain its life.

No description available.

Thesis (doctoral)--Universität zu Köln, 1981. / Includes bibliographical references (p. 281-304).

Frente aos preceitos ditados por Vitrúvio em seu De Architectura, arquitetos tratadistas do Quatrocentos e do Quinhentos, absortos em requalificar a arquitetura e a cidade, divisam symmetria e decor como premissas excelsas a corporificar na ars aedificatoria a perfeita ordem e beleza da natureza. A perquirição de suas acepções, não obstante os obstáculos postos à exegese dos tratados, desvela novos juízos sobre os sentidos de ordem então exalçados. Instituídas, desde a fonte antiga, pelas analogias com o homo ad circulum e ad quadratum, os tratados de Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini e Cesare Cesariano consolidam e multiplicam as possibilidades de associações macro e microcósmicas com a ordo divina. Congêneres ao decor, tais symmetriai e razões do homem bene figuratus precisam expedientes inescusáveis de adequação e variedade, inerentes à vera práxis arquitetônica. / Before the precepts stated by Vitruvius in his De Architectura, architects from the 15th and 16th centuries, absorbed in requalifying the architecture and the city, perceive symmetria and decor as excelling premises that embodied the perfect order and beauty of nature in the ars aedificatoria. The search of their significances, despite the obstacles placed by the treatises exegesis, discloses new judgments about the senses of order extoled at that age. Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini and Cesare Cesariano\'s treatises consolidate and multiply the possibilities of macro and microcosmic associations with the divine ordo, already settled in the ancient source through the analogy with the homo ad circulum and ad quadratum. Congeneric to decor, such symmetriai and the reasons of the homo bene figuratus determine required expedients for adequacy and variety inherent in the veracious architectural praxis.

Frente aos preceitos ditados por Vitrúvio em seu De Architectura, arquitetos tratadistas do Quatrocentos e do Quinhentos, absortos em requalificar a arquitetura e a cidade, divisam symmetria e decor como premissas excelsas a corporificar na ars aedificatoria a perfeita ordem e beleza da natureza. A perquirição de suas acepções, não obstante os obstáculos postos à exegese dos tratados, desvela novos juízos sobre os sentidos de ordem então exalçados. Instituídas, desde a fonte antiga, pelas analogias com o homo ad circulum e ad quadratum, os tratados de Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini e Cesare Cesariano consolidam e multiplicam as possibilidades de associações macro e microcósmicas com a ordo divina. Congêneres ao decor, tais symmetriai e razões do homem bene figuratus precisam expedientes inescusáveis de adequação e variedade, inerentes à vera práxis arquitetônica. / Before the precepts stated by Vitruvius in his De Architectura, architects from the 15th and 16th centuries, absorbed in requalifying the architecture and the city, perceive symmetria and decor as excelling premises that embodied the perfect order and beauty of nature in the ars aedificatoria. The search of their significances, despite the obstacles placed by the treatises exegesis, discloses new judgments about the senses of order extoled at that age. Antonio Averlino, detto il Filarete, Francesco di Giorgio Martini and Cesare Cesariano\'s treatises consolidate and multiply the possibilities of macro and microcosmic associations with the divine ordo, already settled in the ancient source through the analogy with the homo ad circulum and ad quadratum. Congeneric to decor, such symmetriai and the reasons of the homo bene figuratus determine required expedients for adequacy and variety inherent in the veracious architectural praxis.