The genius of Alberti

In Alberti, Ludovico Gonzaga found his perfect architect. Working from the principles of antiquity, he drew up a comprehensively Renaissance and, what is more, a totally unique design. More casual visitors can wonder at its forms, which, following restorations in 2016, have now emerged from the damage that was inflicted over centuries. Although the surface is decorated quite far back and imitated with 15th century details, the brilliance of the creation is quite astounding. Some of the fundamental highlights of the building include: the double arch (one opening onto the vestibule and one surmounting the tympanum, which may have been part of a larger tympanum), the tympanum itself, which is evidently inspired by Greek and Roman prototypes but that is not in thrall to the typically Humanist quest for perfect equilibrium, the other arches of the exterior, framed by triumphal semi-columns, the fluted pilasters that support the main arch and that work in harmony with the trabeation, which runs horizontally along the exterior and ventures into the fornix, the reddish clay outlines and cherubs, and the magnificent portal, engraved with leaves, flowers and small figures.

As would happen to Giulio Romano in a completely different era, the understanding of the various details deviated - a trait quite typical of Alberti's genius. They were, nonetheless, united in a higher equilibrium, which would be transformed into a more modern approach to building from references to antiquity.
It should be noted that the late Gothic bell tower, which was begun in 1413, constituted an objective limit in the construction of the new church. The tower was not knocked down, but was to some extent incorporated into the general plan of the new vision for the city.
Are the current structures in line with Alberti's plans or are they the result of compromises made during construction? It is difficult to provide a conclusive answer to this question. It is also interesting to note how much the overall appearance of this vast basilica, situated within a small piazza, can be attributed to the artistic climate in Mantua at the time, then dominated by the teaching of Andrea Mantegna. Finally, it should be stressed that the exterior was once completely coloured, as can be witnessed from the fresco fragments that are still visible on a small section on the right-hand side. The impact of the colours must have been quite powerful: this we can deduce from tests conducted on residual pigments from the exterior and on a painting from the second half of the 18th century, which shows the church according to its original design.

The potent acanthus leaves combine with the depiction of a strange face, which has been transformed into a mask-like figure with the passing of time. His long ears suggest a similarity with some kind of restless spirit of flora.

The acanthus leaf adornment is slightly different for each capital, illustrating how a variety of forms was already a guiding principle during the Renaissance.

Here, the head carved alongside the greenery appears to show a thin moustache, which are probably leaves that morph into the figure's physiognomy.