Professional Documents
Culture Documents
XIV
(Plotinus)
God The Geometer,
Bible Moralisée, 1215
The Muse of Geometry,
woodcut from
Gregor Reisch,
Margarita philosophica
(Basel, 1536)
Pinturicchio
(Bernardino di
Betto),
The Arts of the
Quadrivium:
Geometry
Pinturicchio
(Bernardino di Betto),
construction based on circles
and armature of the rectangle
[diagrams by Charles Bouleau]
Pinturicchio (Bernardino di Betto)
[diagram by Charles Bouleau]
Geometric artifice
In occult thinking, symbol, meaning, and real object are blended. Symbol
participates in the nature of the referent either because it contains a part of it,
or because it reproduces the likenesses, or simply because it carries its
name, thus consenting the magical action to become explicit in the symbolic
object, provoking a mutation of the reality. This translation assumes an even
greater weight if it refers to a mathematic-geometric symbolism, considered
to be, within the context of the various cultures, capable of reproducing the
primary origin that underlies the apparent chaos of the actual…
…art came to be interpreted as a representation of ideal forms and became
the preferred path in the search for truth.
As the story goes, Pythagoras was passing a blacksmith's forge one day when
he heard the sounds of the metal being hammered and realized that the
hammering made different notes. When he weighed the hammers, he discovered
that they were all ratios of each other.
Raffaello Sanzio The mathematical harmonies of
the universe, diagram of the
The School of Athens tablet held up for Pythagoras
[detail: Pythagoras]
"We shall therefore borrow all
our Rules for the Finishing our
Proportions, from the
Musicians, who are the greatest
Masters of this Sort of Numbers,
and from those Things wherein
Nature shows herself most
excellent and compleat."
Leon Battista Alberti (1407-1472)
Algorithm - a step-by-step
Visualization - the process of problem-solving procedure,
converting data into a geometric especially an established,
or graphic representation. recursive computational
procedure for solving a
problem in a finite number
of steps.
Botticelli and the illusion of perspective [diagram by Stefan Arteni]
Dierick Bouts and the illusion of perspective
[diagram by Stefan Arteni]
Domenico Ghirlandaio
[diagram by Stefan Arteni]
Paolo Uccello and the playful use of perspective [diagram by Stefan Arteni]
Perspective studies of Leonardo da Vinci’s Last Supper
Leonardo da Vinci,
Alberti’s construction
(www.kinemac.com) (www.roanoke.edu)
Jan Vermeer
[perspective diagram
by Stefan Arteni]
Jan Vermeer
[diagram by Stefan Arteni]
Jan Vermeer
[diagram by Stefan Arteni]
Alberti described in De pictura the method by which to create
a perspective projection, referred to as the construzione
legittima or the veil. One of the concerns of perspective
theoreticians such as Alberti and Piero della Francesca
(1410/20-92), was to show that, when projected onto the
perspective veil, proportional relationships in real or imaginary
space were 'translated', so to speak, into corresponding
proportional relationships on the two-dimensional plane.
Barry Smith
Department of Philosophy, Center for Cognitive Science and
NCGIA
University at Buffalo, NY 14260, USA
Girard Desargues (1591 – 1661) is credited with unifying the theory of conics. A highly competent
and original mathematician, he conceived problems in three-dimensional terms…Desargues fully
appreciated the power of this method, and used it to give a projective treatment of
conics…Desargues wrote his most important work, the treatise on projective geometry, when he was
48. It was entitled “Rough draft for an essay on the results of taking plane sections of a cone”
(Brouillon proiect d’une atteinte aux evenemens des rencontres du cone avec un plan)…One of the
most important parts of his treatise can be viewed as a generalization of a theorem proved by Piero
della Francesca…Desargues’ theorem allowed a way of defining the pattern of division even when
the second line was not parallel to the first. In a sense, Desargues was generalizing perspective into
becoming a technique of use to mathematicians.
The members of the MMF are intrinsically related with the onset from a periodic dynamics to a quasi-
periodic dynamics, with the transition from order to chaos and with time irreversibility, as proved by
Ilya Prigogine and M. S. El Naschie.
…the sequences based on the members of this family possess many additive properties and are
simultaneously geometric sequences, which is the reason why some of them were used as the basis
of a system of proportions in Design.
G. Spencer Brown in his book Laws of Form has created a symbolic language
that expresses these ideas and is sensitive to them. Kauffman has extended
Spencer-Brown’s language to exhibit how a rich world of periodicities,
waveforms and interference phenomena is inherent in the simple act of
distinction, the making of a mark on a sheet of paper so as to distinguish
between self and non-self or in and out…There is nothing new about this idea
since our number system with all of its complexity is in fact derived from the
empty set. We conceptualize the empty set by framing nothing and then
throwing away the frame. The frame is the mark of distinction.
Pentagon, pentagram,
Pythagorean triangle, and
golden section
[diagram by Gyorgy Doczi]
Leonardo da Vinci,
page of studies and detail
of the proportions sketch
Medieval
microcosmic/macrocosmic
world view
homo ad circulum
[H. C. Agrippa,
De Philosophia
Occulta, Book II,
Ch. 27]
homo ad quadratum
[H. C. Agrippa,
De Philosophia
Occulta, Book II,
Ch. 27]
Hermeticism, astrology, analogy between man and Leonardo da Vinci’s Vitruvian man
macrocosm [from Maurizio Elettrico, www.airesis.net] [diagram from www.aiwaz.net]
Albrecht Dürer,
anatomical proportions
André Derain’s Vitruvian man
Leonardo da Vinci,
Portrait of Isabella d‘Este
[diagram by Franz Gnaedinger]
Neoplatonic and hermetic esotericism
Prudence by Prudence by
Isaia da Pisa Domenico Guidi
Faith, from
Cesare Ripa, Iconologia
Pietro Mazzoni,
Faith and Charity, façade
of Palazzo Spada
Liberalità, from
Cesare Ripa, Iconologia
Botticelli’s
allegory of
abundance
Astrology,
zodiac and man
Limbourg Brothers,
Les Très Riches Heures du
Duc de Berry,
‘Anatomical Man’ as an analogy
between zodiac and
human body or microcosm as
reflection of the macrocosm
Astrological Star Signs on body,
1475 [The British Library]
Johannes de Ketham,
Fasciculus medicinae, 1491
Leonardo da Vinci
Pinturicchio
(Bernardino di Betto),
Allegory of Astrology
The wheel of fortune
Lorenzo Spirito,
"Wheel of Fortune with the Zodiac Sign of the
Moon"
in Libro de la Ventura (Book of Fortune),
Milan: 1508
[The Library of Congress]
Mythology, astrology, allegory
Bronzino (Agnolo di
Cosimo di Mariano
Tori),
Portrait of Cosimo I
de’ Medici as Orpheus Francesco del Cossa,
Allegory of April :
Triumph of Venus
Botticelli's La Primavera for which
Marsilio Ficino provided the program
Raffaello Sanzio,
Adam and Eve
Raffaello Sanzio,
Apollo and
Marsyas
Raffaello Sanzio,
Astronomy
Giulio Romano
[Giulio Pippi di Pietro
de'Gianuzzi],
Palazzo del Te, Mantova
Giulio Romano (Giulio Pippi di Pietro de'Gianuzzi),
Pasiphae
Giulio Romano (Giulio Pippi di Pietro de'Gianuzzi),
Rome, Palazzo Zuccari, Europa, before 1524
Giorgione (Giorgio da Castelfranco), The Four Elements in Concert
Tiziano Vecellio,
Jupiter and Antiope ( The Pardo Venus)
Veronese (Paolo Caliari),
Allegory of
the Liberal Arts
Veronese (Paolo Caliari),
Jupiter Smiting the Vices
Tintoretto (Jacopo
Robusti),
Peace, Concord
and Minerva
removing Mars
Tintoretto (Jacopo Robusti), Danae
Annibale Carracci,
Palazzo Farnese,
Rome
Annibale Carracci, Triumph of Bacchus and Ariadne, Palazzo Farnese, Rome
Annibale Carracci, Venus with Satyr and Cupids
Jan Vermeer,
The Astronomer
(perhaps an astrologer)
Evaristo Baschenis, Allegorical Still Life
Juan van der Hamen y León, Allegorical Still Life
Peter Paul Rubens, Venus, Cupid, Bacchus and Ceres
Peter Paul Rubens,
The Drunken Hercules
Francesco Colonna
Hypnerotomachia Poliphili (Poliphilo's Dream about the Strife of Love) Venice, 1499
"Like every real dream, the Hypnerotomachia is Janus-headed; it is a picture of the Middle Ages just beginning to
turn into modern times by way of the Renaissance - a transition between two eras, and therefore deeply interesting
to the world of today, which is still more transitional in character." C.G. Jung
Ovidian stories linked to allegorical
readings - pagan lore as historia poetica
defined as wrapping truths in obscurity
(obscuris vera involvens) - formed one of
the most popular subjects.
Parmigianino
(Girolamo Francesco
Mazzola),
painter and alchemist
Image of Alchimia, the embodiment of Alchemy.
Woodcut published by Leonhard Thurneysser in 1574.
Thurneysser was a student of Paracelsus.
De alchimia, Leyden, 1526
calcination dissolution separation
[from www.alchemylab.com/laboratory_artwork.htm]
The Studiolo of Francesco I de Medici
had as its principal theme the dynamic
relationship between the four
elements, the four seasons, and the
four temperaments.