Abstract
The recent (1995) discovery and publication of the whole of Adrian Stokes' Pisanello - 'the founding document of his aesthetic oeuvre' - prompts an analysis of the roots of his architectural criticism. Stokes structures Pisanello scenographically; Alberti's Tempio at Rimini and the Aragonese Arch at Naples define an architectonic ideal in a lucent southern landscape. Sigismundo Malatesta commands the field as patron and embodiment of Renaissance virtu. The architects and artists under his patronage; Alberti, Agostino di Duccio and Pisanello play key roles in forging 'Quattro Cento' values out of the Classical and Gothic worlds. The paper focuses on the tectonic and spatial aspects of Stokes's thought as embedded in this first mature essay. It traces the bases of his 'Quattro Cento' predilections in Classical and Gothic culture and their readings in English and German aesthetics and discovers an emergent spatial bias centred on the corporeal.
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