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Il De equo animante di Leon Battista Alberti: una teoria della bellezza?

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Il De equo animante si presenta come un trattato tecnico ed erudito, piuttosto che artistico, in quanto rielabora notizie attinte dalle auctoritates in materia di ippologia. Tuttavia, a partire dal concetto di “vitalità”, messo in rilievo fin dal
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  CÉÉ     LEON BATTISTA ALBERTI actes du congrès international GLI ESTE E L’ALBERTI: TEMPO E MISURA ferrara, 29· xi - 3· xii · 2004 édités par · a cura di · edited by FCC F &  V avec la collaboration de · con la collaborazione di · in collaboration with d. di carlo · e. scantamburlo · m. scarabelli · vol. 1 ·  ·  FZ  D 2010 ISBN 978-88-6227-227-8  i  ò       zz     De equo animante ,     ,  ’ q -,   ú       ’  . C’è ,’   v   è     F  1443  ’z   q    Nò III  26   1441.Bé  C XII S   à      ,   A  C- Nò B,L ’Evò ’ A, vú     ’,      z     . I  - vv vzz   z    zz  q   v         « ’ v    z».P ’Aí   v , -  L  q  Nò III–     –   q   1454    B–    –    1472        Pzz . D     ’z   L  ’z  R (19  1796),    z    v . N   1864   ’     vv   ,    ,         ,   1926          ,   G Z-. C. AntonioVidetta, Introduzione  Leon BattistaAlberti,  De equo animante ,    A.V., N, C.S.M.E.T.,1991, . 3-73: 57. P  z  A  C, Nò B G Z v Ul-richThieme-FelixBecker,  Allemeines Lexicon der bildenden Künstler  , Lz, S, 1907-1950, ad voces . Nz   v  GiorgioVasari,  Le vite ,   Le opere di GiorioVasari ,    G M, Fz, S, 1906[= ibid. , 1978], . 386, . 1.S q  A. Videtta( Introduzione , ., . 56),  v ’    27 v 1444  C  XII S,  vz , vv   zz  A  C. Tv,é      v   Nò Bv  , è    v- v      ’A   . L’v ’A        : Aò    v, Nòq  v. C. ibid. , . 29. L A, ,           ,   -  à ’z   AdolfoVenturi( Un’opera sconosciuta di Leon BattistaAlberti ,  «L’A»,XVII, 1914, . 153-156  Id., Storia dell’arte italiana:L’architettura del Quattrocento , M, H, 1923, . 165),  ò v  î. I V   «z »,       -   z,       z  è   v   -    ’. F,   JosephRykert(  Leon BattistaAlbertia Ferrara ,   LeonBattistaAlberti[Cataloo della mostra: Mantova, Palazzo Te, 1994]  ,    J Rw A E, Iv, Ov &M, E, 1994, . 158-161: 161), ’A,      «v  à   ,    ,      ». M       v è,   FrancoBorsi(  Leon BattistaAlberti: L’opera completa , M, E, 1975  1989, . 25),«   q      L,      v v,  ú   , ’z    ’A».D     1438 ’Avv    z   M,   à   Ex ludis rerum mathematicarum (1450-1451),   L, q vv    Philodoxeos abula   -z (1437)  à,  z      Nò,  Theoenius (1440). S  ’A F  v LucaBoschetto,  Leon BattistaAlbertie Firenze: Biorafa, storia, letteratura , Fz, O, 2000, . . 114-118 («I v  B, Vz, F»).A.Videtta, Introduzione , ., . 71. L vz  S     q à    ,  z   v  ’  q  ’. L’   z  ò    v    G  XII Sv,  q v ’      ,    vz  v v ex æquo . C. Luigi NapoleoneCittadella,  Notizie amministrative, storico-arti-stiche relative a Ferrara per la magior parte inedite , F, T, 1868, . 416. Il "De equo animante" di L.B. Alberti:una teoria della bellezza? Elisabetta Di Stefano 15   q  gg  ( p v  1438 q v    C-),    (  v     L) p  1444   1445. C F pp v q  g, Pp ,    pq   vp   ph vq   q - hq pp  […]. A  vp h q  pg p  x g p  f, q q  q  p. N   v  p  q gæ p-æ    p,     p  ,  q pg gqh ,   , g g. Mh   q  p p   p       ph   , v   q    g g […] q  g v  q g xp, q  v    g vh , qq  p ,  p     p  , h   p  x. Tv,  ’  g   pz     vz,  à q’p h p  v   (  à  g -   p)   pò      ’,  -v è vv  p  h v  z  ,   ’fv -  .A q g   A V,  q p  - vv p  p z  g , v     h   De equo animante  «     g-v».Epp,      , «  q  Nò III ’E ’zv  p  F, phé    ,   p,   q g    P U,  ’g  Gv A,  Fz;  ,    p,  p  q   M’A-»,   V qg  ’A     pú h -,p    g p ’pz ’v h  h  g.P p   p  g q  ’Apv  pú     v p, p h  q  gv   vv gà  p pv    z   De pictura (1435 1436). L p pz   v,  ’g,   pp   v  g h gv   g z g-,-16 C. GirolamoMancini, Vita di Leon BattistaAlberti , Fz, S, 1882, pp. 178 .   Leonis BaptistæAlbertiOperainedita et pauca separatim impressa , Hy M, Fæ, S, 1890, p. 239, . 4. P ’ p v    pz  v ’ Introduzione  A.Videtta, ., pp. 68 .Leon BattistaAlberti,  De equo animante , T , z    C Gy, T çp J-Yv B, Rv g    F F,  «A», II, 1999, pp. 191-235, §§ 1-2  5.I Videtta( Introduzione , ., pp. 44 .),  h v ’p è     «g»      gv,   h   «è   p gh p –  g S    –  q  g ,  ’  S  L   Fh  q  S ’A. I q (v  z,   q ’gg G M)   vz     h  p        L ’E». Ibid. , p. 3. Ibid. , pp. 43 .I q gz A Vg    MarioSalmi(  La prima operosità architettonica di Leon Battista Alberti ,   Atti del Convegno internazionale indetto nel V centenario di Leon BattistaAlberti , s.c. , R, A Nz L, 1974, pp. 9-20) h  pp      De pictura vg v  v,   , ’- z ’Ap  p  Bh, ’,   z  gz .L’à ’A g   gz h  v pú  è  ’g Vita :. RiccardoFubini- AnnaMenci Gallorini,  L’autobiografa di Leon BattistaAlberti: Studio e edizione ,  «R-», . II, XII, 1972, pp. 21-78 , p  , 68-78: 69.Ag  v  , ’A, pv  g z g- ’g,  -  g  ,   p , gg   h p    pz  g E. S     v SerenaSalomone,  Fonti greche nel D q  di Leon  ò     ,v    p  v p, -  ’,      ’. P   D quoanimant ,     z   auctoritats    v pp,      p  .Tv ’ ’p  p   v pú p p-z   ’      -     -zz ’A  p p   à.U v  pò         V  Il cavallo vivo , p ’- ’ «»,  q  ’ p –   z p’ –  v  v p ’p. P   Vq  q v   «       p  v q  v (p …  ?),   v pp  q - vv»      –    –   ’Ap  v- p     và.Bé  V  «  - è   p     ’  p »,  p    v   q v q,   ,    D quo animant  «p   pz pp»  -: «     à  zz    v  “p” p z  v í z,  p  v  q  p   - p  p   ».A ,  ’  p divrtissmnt  , ’p è      v  ’Apv pp-  «z     v   ppz pú -  v».I q , ,  pò v  pz  p p’A q,    pp p v  ppî  pz -   vú p   z   v ’ppz vv, v   v-à     v vò   quus animans. P    pp  p  q’v   q    ’pp ’v  ’ . S p, , -v  p      «và»:  p        zz , v p    ,    z    v  zà;   p p   «và»   ’«á»,  ‘vvzz ppv’,  p   - qà   p ’.17 BattistaAlbrti ,  «R», . II, XXVI, 1986, pp. 241-250. P v  q      ’  pz   D quo animant ,  v J.Rykwert,  Lon BattistaAlbrtia Frrara , ., pp. 158-161; Werner L.Gundersheimer,  Frrara: Th styl of a Rnaissanc dspotism , P, P Uv P,1973 – . .  V V:  Frrara stns: Lo stil dl potr , M, P, 1988, pp. 54 .;   La cort di Frrara il suo mcnatismo (1441-1598) ,    M P- L W P- D Q, Kv, M T-, 1990.Paul-HenriMichel, Un idéal humain au XVesiècl: La pnsé d L.B.Albrti , P, L B L, 1930, p. 195, -    D quo animant  pz - ’A    pà   p ’ vv   v  v.L’pp   G  IV . .C.  Senofonte,    Prì ippikés ,   vpp   z  z    Rs rustica  Varrone  Gorgich  Virgilio. M  à ’p       . P     z pp   ’-z   v IdaMastrorosa,  L’ippiatrica antica  il D q  di Lon BattistaAlbrti ,   Dallatarda latinità agli albori dll’Umansimo: Alla radic dlla storia uropa ,    P G L D F, T, Dp-  Sz F  S, 1998, pp. 199-244.S q    p  v  ElisabettaDi Stefano,  L’altro sapr: Bllo, art, immagin in LonBattistaAlbrti , P, C Iz Sî  E, 2000.A.Videtta, Introduzion , ., p. 28.C. ibid . Ibid ., p. 44.C. ibid. , p. 34.I.Mastrorosa,  L’ippiatrica antica  il D q …, ., p. 216, . 35. Ibid. , pp. 214  217.  N  c ’Au cc  pc mpz è qu «cp», pcpm ’um  cm ’m, m puché  u «c-p vv», «m», u   mvm, pché  mvm è z pcp v. P  m  cp   v   cmp pcpu  m  -u; m gug  qu cmu cp v pcpî c  mà pvf.N  De pictura ’«h», vv u quz v  cu  gu cp  z-, è u  m pú g ’   m mg p zz  mgzc  u v c  «v», u cc pv ch c mgg c-cà  ppz  à.  Ampmum pc pu  cu  h. […] Hæ p cp, cp p mm- um , mm p  upc. […] Ex upcum cmp  g  cpu c-c  g x, qum puchum cu. […] Eg  hæc upcum cmp mx-m g  puchu pqu . Qum v pc  qumu, u  m mh v v c qum u um pm umu, uqu c gm pcmu qummumu, m um x,  puchm mm upc cmpu. I qu m m c-g  cu v vqu qu xmu vhm c p. Qu   De pictura  Ap  cp,    gu um, m  cp vv g, cm cm ch ’u  m «m» / «m»,    .S ’cc  cmmuà vuv,  c pcc  m’um: Eg quæm cc mgum mmum   ,  qu  cmmu uv animantibus pg pmum  g uc, m hæc, qu mm cu, mp cm qum m ccup. Tum p v  mucu u c hæ, qu x-mum c  cu   mucu v . […]. Uum m m, u  cmmu animante qu u pu animantis mmum ummu, qu cæ mu. Vuvu chcu hominis gum pu um. D concinnitas , ’m cmz  u  mm, ’z  p v cpz  cp («Iqu u ucp mm, huc cæ ccmm uu uum   m mmum  gu u u cæ  cp-. Tum pvum  u m mm uum    qu gu cum xqu-u»),g   p u   zz ch và pú mu z   De re ædifcatoria .N  u’chu ’A u’c gcc c u pu- ’«c-cp»: «A pm vum mmu,   xmu,  vu m18 LeonBattistaAlberti,  De pictura ,  (Id., Opere volgari ,  cu  Cc Gy, v. III: Trattati d’arte, Ludi rerummathematicarum, Grammatica della lingua toscana, Opuscoli amatori, Lettere , B, Lz, 1973, pp. 5-107 ) Id.,  De pictura ,Rp  cu  Cc Gy, Rm-B, Lz, 1975, II 35, pp. 61-63. Ibid. , pp. 60-62,  v vg: «Gmp  p  u c, m . […] P     cp, p ’ cp  mm, p ’mm  upc. […] Nc  cmpz  upc qu gz ’ cp qu c zz. […] Auqu  qu cmpz  upc m  cc  gz  zz  c qu,  ch vg gu,p  m u pú   pú c v ch    u, p m  ch m  u, mvg -c  c,    ’ cp cmp  upc. A qu m,  cv m vv cv p-  cu, m  m   , qu  p cmm, v». Ibid ., II 36, pp. 63 . Ibid. , pp. 62 .,  v vg: «Auqu cv  c g cc  gzz’ mm,  qu cmmuz gvà pm g ccu  ’ animale , p p gug  umuc,  p u v  u c […]. U c m, ch   mu u animante  pg u qu chu mm c qu g   mu. Vuv ch muv  ughzz ’ omo c p» – cv . Ibid ., II 37, p. 65. Ibid. , p. 64,  v vg: «Cí uqu, p u mm,  ccmm g  mm m ch u     cv g   ughzz   ghzz. P  pvgg ch ccu mmgu,  qu ch v  ,  u c».
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