Product Description

This classic survey of Italian Renaissance architecture ranges from the erection of Brunelleschi`s dome for the Florence Cathedral to the works of Bramante and Leonardo in the Quattrocentro. First published in 1974 as part one of Architecture in Italy, 1400-1600, Heydenreich`s text is now accompanied by a critical introduction and updated bibliography by Paul Davies.

Product Details

• Amazon Sales Rank: #947187 in Books
• Published on: 1996-02-21
• Original language: German
• Number of items: 1
• Binding: Hardcover
• 196 pages

Language Notes
Text: English (translation)
Original Language: German

Customer Reviews

Only useful for the specialist.
This book is considered to be "the great survey" of early Renaissance architecture, and is, in fact, the only one that has ever been written covering the subject (except for a 1998 book in Italian that is really more a collection of articles). I find this lack of surveys rather surprising as Renaissance architecture is one of the most well-loved subjects in art history, and I would think that specialists, students, and laymen would demand a simple World of Art kind of treatment of the topic. The Pelican series generally does not provide this type of clear, thesis-driven introductory text, and Heydenreich's book is no exception. It is a collection of facts--a catalog of "this building was built then and it shows influence from that and the architect was so-and-so"--with minimal interpretation and explanation (we generally don't even learn what details indicate that "this" building was influenced by "that" one). A great deal of familiarity with the material is required on the part of the reader, so the text entirely failed my mission of gaining a broad understanding of quattrocento architecture. If you are well-versed in the topic and are looking for a reference, this book may be helpful; if you're looking for elucidation, it almost surely won't be. The most Heydenreich seems to be able to say about the style of buildings or the reason they were compelling to their contemporaries is that they were "perfect" and "beautiful," terms I have heard altogether too frequently (and too frequently unexplained) from Renaissance art historians. I regret that I have no better book to recommend in Heydenreich's place.

On a somewhat different note, the binding of the paperback Pelican books is shoddy at best. By the time I had finished this book, which I did read cover to cover despite really disliking it (it's only 151 pages anyway), all of its pages were falling out!