a) The Vitruvian Man by Leonardo.
1. Leonardo, The proportions of the human body according to Vitruvius , 1490 ca.
metal point, pen and ink, touches of watercolor on white paper, 344 x245 mm
Venice, Gallerie dell'Accademia
In the third book of De Architectura , the architect and theorist Vitruvius Latin argues that the parts of a building must be well proportioned, with similarity to those of a beautiful human body ("homo figuratus good"), and that an appropriate method for determining whether a man is well-proportioned as follows: standing, outstretched and feet together, the figure should be inscribed in a square, lying on the ground, with arms and legs slightly apart, to be inscribed in a circle with the center of the navel. If the chosen model meets both of these proportions, can be defined homo figuratus well, and the architect can proceed to study its proportions, and then apply them to buildings.
addition to Leonardo, the famous drawing in this beautifully finished and has the character of an illustration designed to be translated into a drawing to print (Pedretti), the theme is occupied numerous artists and architects of the Renaissance. Among them, Fra 'Giocondo da Verona (c 1433 to 1515), who in his edition of Vitruvius, published in Venice in 1511, represents the man in the circle and square in two separate images. The architect, painter and treatises Cesariano Caesar Milan (1475-1573), in his De Lucio Vitruvius (Como 1521), the prototype variants riprduce with Leonardo. In
De harmonia mundi totius (Venice 1525), Francesco Zorzi, monaco Neoplatonic humanist inspiration of the convent of San Francesco della Vigna in Venice, shows the cosmic significance to the figure of Homo circulum. Francesco di Giorgio (1439-1501), sculptor and architect of Siena, in his treatise on architecture (a book owned and annotated by Leonardo), had proposed only man in the circle.
(Wittkower figg.1, 2,3,4,6,7,8,9,10,11,12,13,14, 15, 20-24, 25-27, 32). The Vitruvian Man
different processing, presented here, however, it becomes clear that the theme for Renaissance humanists blends with other, equally ancient inherited and enriched with Christian significance, such as: macrocosm and microcosm (man seen as a model as reflected in the order of entire cosmos).
Based on classical doctrines dating back to Pythagoras, recorded by Plato in his Timaeus dialogue , and rediscovered in the Renaissance, music, more precisely, the numerical proportions that express the musical intervals are at the basis of the entire universe : regulate the movements of stars such as beauty and health of the human body. Hence the close relationship between Renaissance studies in music, architecture and medical science.
b) The lyre, Leonardo and the Pythagorean doctrines.
Together with the lute, the lyre is the most popular stringed instrument in the Renaissance. It was used for poetic diction, accompanied where sources assert that Leonardo was quite paid.
2. Vittore Carpaccio, Presentation at the Temple, part.: Angel playing the lyre .
Venice, Gallerie dell'Accademia
3. Giovanni Bellini, San Zaccaria Altarpiece , part.: Angel playing the lyre.
Venice, San Zaccaria
4. Benedetto Montagna, Orpheus charms the beasts , engraving.
5. The contest between Apollo and Pan . Woodcut from 'Vulgar Metamorphoseon Ovidio, Venice 1501., Fol 143 r
6. lute and lyre, inlaid woodwork.
Urbino, Palazzo Ducale, Studiolo
7. lute and lyre, inlaid woodwork.
Verona, Santa Maria in Organo
The practice of many musical artists of the Renaissance, including Verrocchio, Leonardo and Raphael, must be considered in connection with the revival of the Pythagorean doctrines. Pythagoras and his school argued that a number of natural phenomena are translated into numerical relations, and are represented in a mathematical way. In particular, the numbers are translated into musical harmony as a result, the Pythagoreans practiced music as a means of knowledge and purification.
In Milan, Ludovico Sforza, worked the famous theorist Franchino Gaffurio (a possible subject of a famous portrait of Leonardo), that, in his treatises De Harmonia music and Practice Musicorum Instrumentorum (1518), appears in a famous woodcut, while teaching a crowd of students correspondences between musical harmonies and geometric ones. These correspondences between musical harmony and visual harmonies were the subject of intense interest by artists and architects.
8. Leonardo, Portrait of a Musician .
Milan, Pinacoteca Ambrosiana
9. Raphael, The School of Athens , part.: the philosopher Plato with his treatise Timaeus The . Fresco, 1509-10
Rome, Vatican Palace, Stanza della Signatura
10. 11. Raphael, The School of Athens, part.: The philosopher Pythagoras, surrounded by students, and a blackboard with diagrams number of intervals that generate musical harmony .
Fresco, 1509-10
Rome, Vatican Palace, Stanza della Signatura
Bibliography
The Platonic revival and application of harmonic principles in architecture:
R. Wittkower, Architectural Principles age of Humanism (1962) , trans. com. Turin, Einaudi
OM Ungers, "Ordo, et Mensura great weight": architectural design of the Renaissance in the Renaissance from Brunelleschi to Michelangelo (Category of the exhibition in Venice, Palazzo Grassi), Milan, Bompiani, 1994 G.
REAL The 'School of Athens' by Raphael , Milan, Bompiani, 20052
Leonardo da Vinci musician:
E. Winternitz , Leonardo da Vinci as a Musician , New Haven and London, Yale University Press, 1982
G. WALLIS, Leonardo's 'Skull lyre' in 'All the works are not for istance', written for the collection of seventy years of Carlo Pedretti , Rome, Edizioni associated, 1998, pp. 405-424
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