By Marsilio Ficino, James Hankins, Michael J. B. Allen
The "Platonic Theology" is a visionary paintings and the philosophical masterpiece of Marsilio Ficino (1433-1499), the Florentine scholar-philosopher-magus who used to be principally liable for the Renaissance revival of Plato. A scholar of the Neoplatonic faculties of Plotinus and Proclus, he was once dedicated to reconciling Platonism with Christianity, within the wish that the sort of reconciliation may start up a non secular revival and go back of the golden age. His Platonic evangelizing used to be eminently profitable and commonly influential, and his "Platonic Theology" is without doubt one of the keys of knowing the paintings, idea, tradition and spirituality of the Renaissance.
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Additional resources for Platonic Theology, Volume 3: Books IX-XI (I Tatti Renaissance Library)
Bruno Maier, 2d ed. ] POSTSCRIPT Much has been written on Castiglione; mine was not the first article to deal with music in the Cortigiano and will surely not be the last. Some details in my study are clarified in recent work by other scholars. Here are a few suggestions for further reading: On Gafori's acquisition of humanist lore see Claude V. Palisca, Humanism in Italian Renaissance Musical Thought (New Haven, 1985), chapter 9; For a view differing from that of Pirrotta on humanist attitudes toward polyph ony see Reinhard Strohm, The Rise of European Music, 1380-1500 (Cambridge, 1993), 547-50; On Tinctoris in Naples see Ronald Woodley, "Johannes Tinctoris: A Review of the Documentary Biographical Evidence," JAMS 34 (1981): 217-48; see also the same author's "Tinctoris's Italian Translation of the Golden Fleece Statutes: A Text and a (Possible) Context," EMH 8 (1988): 173-244; For information on the viola at the beginning of the sixteenth century see Ian Woodfield, The Early History of the Viol (Cambridge, 1984); On the studiolo of Federico da Montefeltro in Urbino (n.
Prattica, 1592, fol. 87r. 79. , fol. 8r. 80. SeeLilianP. Pruett, "Porta, Costanzo," New Grove, 15:131. 81. 1am grateful to Claude Palisca for calling this pas sage to my attention. 82. " On the use of chant as cantus firmus in Morales's Magnificats see Samuel Rubio, Cristo bal de Morales: Estudio critico de supolifonia (Madrid, 1969), 260-65. 83. Zacconi does not say that the two are being compared, but the sense of the passage is that such a comparison is implied. 106). S I X T E E N τ H - C E N T U R Y M U S I C C R I T I C I S M 19 84.
198. " See James Haar, "The Libro Primo of Costanzo Festa," Acta musicologica 52 (1980): 153, n. 2. 69. It was one of the traditional partesartis rhetoricae. An early treatise of Cicero, De inventione, is devoted entirely to this subject. 70. Prattica, 1622,79,154,260. 71. "Dispositione" appears in the titles of chapters 23 and 24, both of which are con cerned with mensurations and proportions, in book 1 of Prattica, 1622. 72. Prattica, 1622,47. 73. , 37. 74. Prattica, 1592, fol. 212r. 75. Prattica, 1622,60.