This essay studies Moses Galeano, a Jewish scholar with ties to Crete and the Ottoman Sultan’s court, who traveled to the Veneto around 1500. After describing Galeano’s intellectual milieu, it focuses, first, on circumstantial evidence that he transmitted information central to the rise of Renaissance astronomy. Galeano knew of theories that strongly resemble portions of astronomy texts written by Giovanni Battista Amico and Girolamo Fracastoro at Padua a few decades later. He also knew about theories pioneered by the Damascene (...) Ibn al-Shā˙tir that strongly resemble portions of Copernicus’s work. Next, the article turns to concrete evidence showing that Galeano was part of a network of Jewish scholars who did have contact with Christian scholars in Europe. The essay concludes that, while it is impossible to prove that Galeano had direct contact with Copernicus, he most likely had contact with some European astronomer in the Veneto. (shrink)

The article investigates the peculiarities of Durer's aesthetic views in the context of Renaissance philosophy and the theory of cognition of Modern times. Its provisions are compared with fragments of texts by L.-B. Alberti, Leonardo da Vinci, Raphael. The semantic interrelationships of Durer's positions with mysticism, pantheism, natural philosophy and empiricism of Modern Times are emphasized. The interrelation of the problem of knowledge with the theme of freedom and beauty is considered in detail. The authors analyze various opinions and (...) ways of comprehending the beautiful, presented in the philosophical constructions of Durer, his concept of "rational knowledge", "scientific ignorance". Special attention is paid to the boundaries of freedom in Durer's representation. The novelty of the research lies in the fact that the presented concept of the evolution of A. Durer's aesthetic views helps to comprehend those contradictory trends that existed in the Renaissance itself. Thus, Durer believed that freedom conditioned by knowledge ends where attempts to transcend nature begin. A necessary condition for freedom is the understanding that the beautiful is relative. From the understanding of the relativity of the beautiful, from the concrete utopian program of its achievement, an imperative grows, meaning denial, the completion of the aesthetics of Rebirth. According to him, the artist should not limit himself to one type, but should be knowledgeable in various ways of depicting all kinds of types. In order to make such an image as is required of him. Thus, the professionalism of the artist, his experience, knowledge, recognition of the power of knowledge and, at the same time, understanding of its relativity – all this, as an achievement of the Renaissance theory of art, loses its meaning. All this is sacrificed to the tastes of employers. (shrink)

With respect to the issue of the future of Cusanus research, the paper seeks to motivate questions about the degree to which dominant concerns of modern philosophy exhibit an often unacknowledged relationship to those of Renaissance philosophy and theology. Although the author has no wish to “modernize” Nicholas of Cusa, he contends that Cusanus research may be uniquely capable of providing insights into the question of the extent to which dominant habits of modern philosophy are significantly constituted by major (...) commitments of medieval and Renaissance philosophy and theology. (shrink)

This chapter uncovers a less investigated aspect of the relationship between the two most important scholastic schools of the Renaissance, Thomism and Scotism: the influence of Scotist literature on distinctions as seen in some sixteenth-century Thomists. The chapter has a primary focus on Chrysostomus Javelli’s engagement in his discussion of divine attributes with the Scotist doctrine of distinctions, but also considers other Thomist sources. First, the beginnings of the highly specialised Scotist literature on distinctions are traced back to the (...) start of the fourteenth century; I show how some early followers of Duns Scotus, in particular Francis of Meyronnes and Petrus Thomae, systematised Scotus’ ontology of the various grades of being by compiling lists of subtle distinctions to be applied to various levels of reality. I give some indications as to the later reception of these models of distinctions in the Scotist school. Special attention is paid to Étienne Brulefer, since his summary of Petrus Thomae’s model of seven distinctions was Javelli’s source for the Scotist doctrine. I then investigate how Javelli worked with Brulefer’s summary, and how he sought to integrate the Scotist doctrine into his own discussion of divine attributes. Thomists traditionally allowed only a rational or mental kind of distinction among divine attributes, and between them and the divine essence. Javelli, however, endeavours to show how the Thomist position may be reconciled with the Scotist doctrine of a formal or ex natura rei distinction. He did not always endorse this conciliatory approach; I hypothesise that he changed his mind on the subject over time. Finally, I show how other Renaissance Thomists reacted to the Scotist system of distinctions; in particular, I draw attention to the Thomists Andreas Bodenstein von Karlstadt, Bartolomeo Manzoli, and Mattia Gibboni da Aquario, who all wrote treatises on Thomist distinction theory modelled on the Scotist system of distinctions. In some of this literature, lists of distinctions based on Thomist metaphysics were compiled in order to replace the Scotist system. I argue that Javelli’s approach is more conciliatory and, in fact, has some overlap with the concordist thought of Giovanni Pico della Mirandola, who himself considered Scotus and Aquinas to be in fundamental agreement as regards the distinction between divine attributes. (shrink)

Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a (...) text but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

In this paper I describe the context and goals of Francisco Vallés' In IV librum Meteorologicorum commentaria. Vallés' work stands as a landmark because it interprets a work of Aristotle's natural philosophy specifically for medical doctors and medical theory. Vallés' commentary is representative of new understandings of Galenic-Hippocratic medi-cine that emerged as a result of expanding textual knowledge. These approaches are evident in a number of sixteenth-century commentaries on Meteorologica IV; in particular the works of Pietro Pomponazzi, Lodovico Boccadiferro, Jacob (...) Schegk, and Francesco Vimercati. Vallés' conviction that Meteorologica IV is relevant to medical knowledge depends on his understanding of Aristotle's theory of homeomerous substances and their relation to composite substances. The application of Meteorologica IV to medical topics became commonplace in the following years, and this Aristotelian book became widely known as a bridge between natural philosophy and medicine. (shrink)

This paper examines the production and circulation of astrological prognostications regarding the illness and death of kings, princes, and popes in the Italian Renaissance . The distribution and consumption of this type of astrological information was often closely linked to the specific political situation in which they were produced. Depending on the astrological techniques used , and the media in which they appeared these prognostications fulfilled different functions in the information economy of Renaissance Italy. Some were used to (...) legitimise the rule of a political leader, others to do just the opposite. Astrological prorogations and interrogations were often used to plan military and political strategies in case of the illness or death of a political leader, while astrological prognostications were generally written to promote certain political leaders while undermining others. While certainly often partisan to this game, astrologers, for their part, worked within a very well established tradition that gave authority to their forecasts. This paper argues that, as indicators of deeper political tensions otherwise not always explicitly manifest, these prognostications are privileged sources of information providing a better understanding of the political history of the period. (shrink)

Historians have recently paid increasing attention to the role of the disputation in Italian universities and humanist circles. By contrast, the role of disputations as forms of entertainment at fifteenth-century Italian courts has been somewhat overlooked. In this article, the Milanese "scientific duel" described in Luca Pacioli's De divina proportione is taken as a vantage point for the study of the dynamics of scientific patronage and social advancement as reflected in Renaissance courtly disputes. Pacioli names Leonardo da Vinci as (...) one of the participants in the Milanese dispute. In this paper I argue that Leonardo's Paragone and Pacioli's De divina proportione are likewise the outcome of the Milanese "scientific duel." By challenging the traditional hierarchy of the arts, they both exemplify the dynamics of social and intellectual promotion of mathematicians and artists in the privileged setting of Renaissance courts, where courtly patronage could subvert the traditional disciplinary rankings. (shrink)

The paper examines the Dialogue De pace fidei written by Nicolaus Cusanus in 1453 to settle disputes arising from events that triggered religious unrest, such as the fall of Constantinople in May 1453, the invasion and massacre of the Turks led by Sultan Mehmed II and the defeat of the Christians. Following the disintegration of medieval Christianity, Cusanus, instead of promoting a crusade, as Cardinal Bessarione did, proposed a more suitable way to make the major exponents of different religions interact (...) in a fruitful dialogue, hoping for the peace of a single universal faith. The arguments through which Cusanus claimed the concept of a concordance and pacification of the faith reveal the originality and topicality of the message communicated by the humanist, founded on the doctrine of peace in the faith, overcoming inter-confessional barriers and religious divergences.The author contrasts the divergences, massacres and wars with a doctrinal comparison among different religions through dialogue. The paper invites reflection upon the religious struggles that still spread discord in the world. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often (...) resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes (...) toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world. (shrink)

Over the years of the printing of the Utopia by Thomas More, the paradigm of the bene ordinata res publica takes shape in Italian culture. It is a model both political and urbanistic, which is inspired by the neo-Platonic revival of the Fifteenth and Sixteenth century and concretized by the «new style» of Renaissance architects. The rationalization of the civitas, evident from the geometric definition of the urban plans, introduces a principle of order and measuring to which it is (...) assigned the task to re-form and harmonize the multiple instances of a real State – naturaliter unstable, corrupt, conflictual – within the form of an achievable eutopia. (shrink)

The Renaissance has long been recognized as a brilliant moment in the development of Western civilization. Little attention has been devoted, however, to the distinct contribution of philosophy to Renaissance culture. This volume introduces the reader to the philosophy written, read, taught, and debated during the period traditionally credited with the "revival of learning." Beginning with original sources still largely inaccessible to most readers, and drawing on a wide range of secondary studies, the author examines the relation of (...) Renaissance philosophy to humanism and the universities, the impact of rediscovered ancient sources, the recovery of Plato and the Neoplatonists, and the evolving ascendancy of Aristotle. Renaissance Philosophy also explores the original contributions of major figures including Bruni, Valla, Ficino, Pico della Mirandola, Pomponazzi, Machiavelli, More, Vitoria, Montaigne, Bruno, and Camapanella. (shrink)

A revisionist view incorrectly identifies a growing awareness of historical and cultural relativity by scholars of Roman law in sixteenth-century France with a modern historical consciousness. Friedrich Meinecke more correctly identified historicism as the juncture of the ideas of individuality and development. The perception by these Renaissance scholars of successive changes in language and law only constitutes an awareness of individuality, not of an idea of development. They conceived of an entity as unfolding from a germ or essence, an (...) essential quality which defined it as an individuality. They could not conceive of an entity as developing in relation to its circumstances. (shrink)

Professor Rubini's excellent study, The Other Renaissance: Italian Humanism Between Hegel and Heidegger, contends that modern Italian philosophy is a philosophy self-consciously constructed by an a...

INTRODUCTION Is there a * Renaissance ideal of man'? The consciousness that man is a historical being is a product of bourgeois development ; the condition ...