Vitruvius Renaissance

La facilidad con la que diferenciamos el estilo gótico del Renacimiento no se corresponde con la sutil frontera que delimita ambos mundos.. Una transición en la que se observan ideas, conceptos e intenciones plenamente renacientes materializados a través de las formas góticas, así como modelos de la Antigüedad sin correspondencia con las proporciones, ritmos y otros aspectos teóricos, del mundo clásico.
Este artículo pretende reflexionar sobre dichas cuestiones a través del análisis de algunos aspectos de la capilla de la Purificación en la Catedral de Burgos. Un espacio destacado en el que se conforma un profundo cambio de sensibilidad que promueve nuevas formas de ver y mirar.

The ease with which we can separate the Gothic from the Renaissance style does not match the subtle boundary delineating both worlds, intertwined with each other over a long period of time. It is during that transition that we can observe clearly Renaissance ideas, concepts and intentions materialized by means of Gothic styles, as well as models from the Ancient World which do not correspond to the proportions, rhythms and other. theoretical aspects from the classical world.
This article aims to reflect on these issues through the analysis of certain aspects of the Chapel of Purification in Burgos cathedral, an outstanding space in which a profound change in sensibility can be seen which pro- motes new ways of seeing and looking.

In April 2016 a Fixed Handout Workshop was held at the University of Cambridge. Its aim was to encourage early-career Latinists to reflect on the impact that their varying academic influences and different methodological preferences have on the research they produce. In particular, the workshop tested the strengths and limits of each scholar's intertextual practice. The participants delivered papers that were based on a prearranged selection of thematically connected passages, yet although several groups were presented with identical sets of Latin quotations, the papers they produced—and additional texts they adduced—varied widely. The present workshop aims to continue this exploration of interpretative methodologies in a slightly altered format. We invite Classicists and scholars from other disciplines (especially Renaissance Studies, Art History, Philosophy, Architecture, Mathematics) to each present a paper on the same passage, but to use a different, clearly stated methodological approach. By asking scholars from different schools-of-thought and disciplines to focus their attention on a particular moment in Latin literature, we aim to: a) measure the interpretive impact of different methodologies within the field of Classics; b) explore how texts take different shapes under the lens of disciplines outside the Classics; c) test in concrete terms the interpretative potential of an interdisciplinary dialogue. The passage we have selected for the workshop is Vitruvius' De Architectura III.1. While discussing the role of symmetry in the composition of temples, Vitruvius introduces the image of a well-formed human being (ad hominis bene figurati membrorum exactam rationem), from which proportional relations and principles of good measure are derived. The passage was famously the basis for Leonardo da Vinci's interpretation of the " Vitruvian Man " , and continued to attract the attention of early modern exegetes and contemporary architectural specialists alike. With its textual, visual, philosophical, and scientific features, De Architectura III. 1 has an obvious and distinct interdisciplinary potential.

La scheda (nr. 33) sul libro dell'umanista parmense Francesco Maria Grapaldo "De partibus aedium", o meglio su un ampio capitolo del volume ("Hortus") dedicato all'idea del giardino di una dimora nobiliare italiana della fine del secolo XV, fa parte del Catalogo della mostra alla Biblioteca Bodmeriana di Ginevra (24 aprile - 9 settembre 2018). Come scrive l'ideatore e curatore del volume, nonché responsabile scientifico della mostra, M. Jakob, «"Des jardins et des livres" se veut une éncyclopedie de l'art des jardins à travers leur représentation dans l'histoire de livre imprimé».
******************************************************************************************* "De partibus aedium" est un ouvrage d’érudition de Francesco Maria Grapaldo (1460-1515), humaniste et professeur de lettres classiques de Parme. En puisant dans les textes grecs et latins, surtout les traités de Vitruve et de Celse, il décrit dans les moindres détails la structure et toutes les pièces de la villa nobiliaire ainsi que les espaces à son extérieur, avec les environnements et les bâtiments préparés pour les animaux («stabulum», «piscina», «leporarium» etc.) et pour les produits de la terre («vinaria cella» etc.). Le cinquième chapitre intitulé "Hortus" est dédié à la description du jardin, en particulier à la culture des légumes, des herbes potagères, mais aussi aux arbrissaux et aux arbres plantés non seulement pour les fruits ou pour l’attrait de l’art topiaire, mais surtout pour le plaisir («ad voluptatem») que leur ombre peut assurer.

Throughout the fifteenth century, Italian artists, naturalists, and theologians explored with the subject of humankind’s remote past. Furnished with stories from the ancients, fossils from the ground, knowledge of far-away cultures, and Scriptural accounts, the Renaissance artist had many resources from which to draw when tasked with imaging the world’s earliest humans.  Bringing together a corpus of diverse Renaissance images, this paper examines how fifteenth-century artists synthesized and moved fluidly between various narratives of mankind's remote past.