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"È possibile che voi, che per essere divino non degnate il consortio degli huomini, haviate ciò fatto nel maggior tempio di Dio?.... In un bagno delitioso, non in un choro supremo si conveniva il far vostro."
We know that a great quantity of marble of different kinds was gathered by Sigismondo from all parts of Italy, not only to furnish the interior of his Tempio, but to cover the exterior also according to the design of Leon Alberti. Even the sepulchral stones from the old Franciscan convent of S. Francesco in Rimini were used and the blocks which the people of Fano had collected for their church.
Like that of Neptune, this temple is hexastyle, with six columns on each of its façades and twelve on either flank, but as it is little more than half the size of its grander and older brethren, it is now frequently known as “Il Piccolo Tempio,” although its former incorrect ascription to Ceres still clings to it in popular parlance.
There is also a very pretty legend, in which he is represented as exciting the astonishment, of the schoolmaster Zaccheus by his premature wisdom. On these, and other details respecting the infancy of our Saviour, I shall have to say much more when treating of the History of Christ. Ital. La Disputa nel Tempio. Fr. Jésus au milieu des Docteurs.
Like Ghirlandajo, Andrea has introduced portraits; and in the Florentine lady who stands in the foreground we recognize the features of his worthless wife Lucrezia, the original model of so many of his female figures that the ignoble beauty of her face has become quite familiar. Ital. La Presentazione, ove nostra Signora piccioletta sale i gradi del Tempio. Ger.
In the fagade of his masterpiece, the Tempio Malatestiano at Rimini, that beautiful unfinished temple where the gods of Greece seem for once to have come to the cradle of Jesus with something of the wonder of the shepherds who left their flocks to worship Him, Leon Alberti has taken as his model the arch of Augustus, that still, though broken, stands on the verge of the city in the Flaminian Way; but as though aware at last of the danger of any mere imitation of antiquity such as that, he has here contrived to express the beauty of Roman things, just what he himself had really felt concerning them, and has combined that very happily with the work of the age that was just then passing away; thus, as it were, creating for us one of the most perfect buildings of the fifteenth century, very characteristic too, in its strange beauty, as of the dead new risen.
The walls of the church were, however, stripped in 1449 by Sigismondo Malatesta of Rimini when he was building, or rather encasing, the church of S. Francesco in Rimini with marbles, and turning what had been a Gothic church of brick into what we know as the Tempio Malatestiano, by the hands of Alberti.
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