Rudolf Wittkower’s Architectural Principles in the Age of Humanism

Recently, I had an interest in understanding the architecture of the Renaissance era. I came across a lecture by Peter Eisenman, where he mentioned that he doesn’t teach design because he doesn’t know how. Instead, he teaches precedents, focusing on Renaissance figures like Alberti, Bramante, and Palladio.

Honestly, I never had the chance to study them closely during my Bachelor’s degree—no one seemed interested, I guess. Even during my Master’s, the focus was primarily on architectural history and theories from 1700 onwards, after the Industrial Revolution. So, essentially, I had zero knowledge of their influence, the significance of their work, their theories, and their connection to modernity.

Determined to fill this gap, I decided to learn more about these figures, visit their works, and experience them firsthand—and I’m still in the process. Through this journey, I’ve come to realize how important their work is and how relevant their ideas remain today. I believe there’s so much we can learn from them on multiple levels.

So, I figured it would be meaningful to take you along on this journey and share everything I am learning along the way. I’m not claiming to be an expert, but rather an explorer, documenting these discoveries. My hope is that those who, like me, knew little about them, can gain some understanding.

***"to dispose, once and for all, of the hedonist, or purely aesthetic, theory of Renaissance architecture,"***

Sir Kenneth Clark, writing in the *Architectural Review*

For this post, I will be focusing on The Architectural Principles in the Age of Humanism by Rudolf Wittkower—a pivotal book that offers a unique perspective on Renaissance architecture. When first published, it provided an interpretation of the Renaissance that had never been illustrated before. It reinterprets Renaissance architecture through geometric principles, mathematical proportions, and humanist philosophy.

**Rudolf Wittkower**

was a British art historian specializing in Italian Renaissance and Baroque art and architecture, who spent much of his career in London, but was educated in Germany, and later moved to the United States.
`Source Wikipedia`

As Rudolf mentioned in the introduction of the book, “In order to avoid misunderstandings, I should like to stress that this study is neither a history of Renaissance architecture nor does it contain monographic treatments of Alberti and Palladio.” He continued explaining, “The book was dictated by the main problems that moved Renaissance architects. First, they believed in a hierarchy of values, a system of hierarchical order among various branches or categories of building.”

The book challenges the idea that Renaissance architecture was purely imitative of antiquity, arguing instead that it was a rational and intellectual discipline rooted in universal harmony.

Alberti’s Programme of the Ideal Church

In the first chapter, “Alberti’s Programme of the Ideal Church,” Rudolf Wittkower explores the theories of Leon Battista Alberti—a prominent Renaissance architect and theorist—on sacred architecture and its guiding principles, particularly regarding centralized churches and their geometric harmonies.

**Leon Battista Alberti**

was an Italian Renaissance humanist author, artist, architect, poet, priest, linguist, philosopher, and cryptographer; he epitomised the nature of those identified now as polymaths.
`Source Wikipedia`

This chapter draws attention to the philosophical foundations that led architects like Alberti to favor the centralized church as an expression of divinity, with the circle being considered the purest of all shapes. It also examines how these ideas challenged the traditional norms of Christian church design, which had long been dominated by the basilican plan, and how Alberti’s principles influenced many architects who followed him.

In the introduction of part two “Alberti’s approach to antiquity in Architecture” Wittkower writes "Alberti, in his Ten Books on Architecture, declares that the aesthetic appearance of a building consists of two elements: beauty and ornament. He defines beauty, as we have seen, as “the harmony and concord of all parts achieved in such a manner that nothing could be added, taken away, or altered except for the worse—beauty is something lovely, which is proper, innate, and diffused throughout the whole.”

**The ten books of Architecture**

Alberti's *De Re Aedificatoria* (1452)

In this section, Wittkower explains Alberti’s approach to Renaissance architecture, focusing on an analysis of some of his key works, including S. Francesco at Rimini, S. Maria Novella in Florence, S. Sebastiano, and S. Andrea at Mantua. He highlights how Alberti redefined the role of classical antiquity in Renaissance church architecture, using proportion and geometry to achieve harmony.

This marked a turning point in architectural thought, as Alberti demonstrated how ancient Roman principles could be adapted to Christian buildings without merely imitating pagan temples. His work directly addressed the dilemma of integrating Roman classical forms into Christian church design, offering a Renaissance solution that merged classical aesthetics with sacred function.

Principles of Palladio’s Architecture

In Part Three, Principles of Palladio’s Architecture, Witkover draws close attention to Palladio’s theory, architectural philosophy, and his work on villas, as well as civic and public buildings.

**Andrea Palladio**

was an Italian Renaissance architect active in the Venetian Republic. Palladio, influenced by Roman and Greek architecture, primarily Vitruvius, is widely considered to be one of the most influential individuals in the history of architecture. While he designed churches and palaces, he was best known for country houses and villas. His teachings, summarized in the architectural treatise, The Four Books of Architecture, gained him wide recognition.
`Source Wikipedia`

Wittkower explains and I quote: “What was in Palladio’s mind when he experimented over and over again with the same elements? Once he had found the basic geometric pattern for the problem of the villa, he adapted it as clearly and simply as possible to the special requirements of each commission. He reconciled the task at hand with the certain truth of mathematics, which is final and unchangeable.”

he highlighted Palladio’s education and the influence of Trissino, who recognized his young talent and introduced him to the theories of the ancient Romans, Vitruvius, and classical Roman architecture. He focuses on Palladio’s architectural principles, which combined theory with practice, and examines his design approach in villas, palaces, and churches.

Wittkower’s diagram is a visual synthesis of Palladio’s architectural principles, illustrating the Renaissance master’s systematic use of proportion, symmetry, and hierarchy in villa design.

He later argues that Palladio’s legacy lies in his ability to synthesize ancient principles with Renaissance ideals, creating a new architectural language that would influence European architecture for centuries. His meticulous study of proportions, geometry, and classical harmony positioned him as a leading figure in Renaissance architecture, with his ideas continuing to shape architectural discourse long after his death.

The problem of harmonic proportions in architecture

In the last chapter The problem of harmonic proportion in architecture explores how Renaissance architects translated musical harmony into architectural design, particularly through the use of precise ratios and geometric compositions. Rooted in Neo-Platonic thought, this approach linked mathematical perfection to divine beauty, shaping the aesthetics and spatial order of Renaissance architecture.

Conclusion

In my opinion, this is one of the most important books for understanding the challenges faced by Renaissance theorists and architects. It explores how these challenges were addressed in practice, from Alberti to Bramante, culminating in the genius of the last great humanist, Palladio.