A Dominican, Leandro Alberti (Descrizione d'Italia, 1550), states that they were originally nine in number, and an independent authority, Antonio Concioli (Statuta civitatis Eugubii, 1673), states that two of the nine were taken to Venice in 1540 and never reappeared.
Alberti in C. Bursian's Biographisches Jahrbuch fur Altertumskunde, xx.
The early margraves had permitted the Florentines to wage war against the Alberti family, whose castles they destroyed.
By 1176 the Florentines were masters of all the territory comprised in the dioceses of Florence and Fiesole; but civil commotion within nobles, headed by the Alberti and strengthened by the many feudal families who had been forced to leave their castles and dwell in the city (1177-1180).
In the end the Alberti, though not victorious, succeeded in getting occasionally admitted to the consulship. Florence now formed a league with the chief cities of Tuscany, made peace with the Guidi, and humbled the Alberti whose castle of Semifonte was destroyed (1202).
A severe persecution was initiated against the Alberti and other families, who were disfranchised and exiled.
The first practical step towards the development of the camera obscura seems to have been made by the famous painter and architect, Leon Battista Alberti, in 1437, contemporaneously with the invention of printing.
Alberti, to whom Porta also refers, but not in this connexion.
LEONE BATTISTA ALBERTI (1404-1472), Italian painter, poet, philosopher, musician and architect, was born in Venice on the 18th of February 1404.
Alberti wrote works on sculpture, Della Statua, and on painting, De Pictura, which are highly esteemed; but his most celebrated treatise is that on architecture, De Re Aedificatoria, which has been translated into Italian, French, Spanish and English.
Alberti died at Rome in the April of 1472.
See Passerini, Gli Alberti di Firenze (1869, 1870); Mancini, Vita.
Di Alberti (Firenze, 1882); V.
It was subject to the Alberti until 1180, and was then under the Imperial supremacy.
A simply gigantic plan was drawn out, with the assistance of the celebrated Alberti, for the reconstruction of the Leonine City, the Vatican and St Peter's.
Alberti, who had been minister of justice since 1901, and was admitted to be the strongest member of the cabinet, was openly accused of nepotism and abuse of the power of his position.
The effect of these revelations was profound not only politically, but also economically; the important export trade in Danish butter, especially, was adversely affected, as Herr Alberti had been interested in numerous dairy companies.
Yet we find in the writings of Ghiberti and Alberti, we notice in the masterpieces of these men and their compeers Brunelleschi and Donatello, how even in the 15th century the minds of artists were fascinated by what survived of classic grace and science.
Aroused curiosity for nature encouraged men'like Alberti, Da Vinci, Toscanelli and Da Porta to make practical experiments, penetrate the working of physical forces, and invent scientific instruments.
See Alberti, Aus vergangenen Tagen des Reussenlandes and der Stadt Schleiz (Schleiz, 1896).
His architectural and engineering projects were of a daring which amazed even the fellow-citizens of Alberti and Brunelleschi.
Florence had had other sons of comprehensive genius, artistic and mechanical, Leon Battista Alberti perhaps the chief.
Much more important architecturally is the church of St Andrea, built towards the close of the 15th century, after plans by Leon Battista Alberti, and consisting of a single, barrel-vaulted nave 350 ft.
Sigismondo entrusted the execution of his plans to Leo Battista Alberti, who had to encase in a shell of classic architecture a 13th-century Franciscan church.
Alberti solved the problem with marvellous skill, blending the old architecture with the new style of the Renaissance, and giving it variety without destroying its unity of effect.
Such was the zeal with which Alberti pursued his task that the exterior of the little Rimini church is one of the finest and purest achievements of the Renaissance, and surpasses in beauty and elegance all the rest of his works.
Alberti came to Rimini, made his design, saw the work begun and then left it to be carried out by very skilful artists, on whom he impressed the necessity of faithfully preserving its general character so as " not to spoil that music."