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Renaissance 2/2011 - 1 .arina Del Negro Karem A Con$lation o$ C aracters ; e &ortra'al o$ Aristotle and Averro?s as >e)s in a 4enetian 5ncuna0ulum Fig. 1: Girolamo da Cremona, Aristotle lecturing Averröes, tempera Fig. 2: Girolamo da Cremona, ;ur0a &hilosophorum, tempera and and gold on parchment, 1483, $rontispiece o$ Aristotle%s &hysics ()it gold on parchment, 1483, $rontispiece o$ Aristotle:s 6or3s, $ol. 2, Commentar' o$ Averröes) $ol. 1, 40.+ , 27.2 cm, &ierpont Morgan &ierpont Morgan Li0rary, 1e) 2or3, in: 4enice and t e 5slamic 6orld Li0rary, 1e) 2or3, in: 4enice and t e 5slamic 6orld 828-1797, 1e) 828-179-, 1e) 7aven, 2007, p. 168. 7aven, 2007, p. 165. A Latin edition o$ Aristotle's &hysics and 6orks )it )hic he com0ined $or the $irst time a classical archi- the Commentary o$ Averroes, a t)o-volume incuna0- tectural setting wit an illusionistic device which he in- ulum, )as published in Venice in 1483.[1] ;he 0oo3s vented kno)n as the “torn parchment lea$.”[4] )ere compiled 0' the humanist Nicoletto Vernia, a Aristotle, seated on the right holds together )ell-3no)n Averroist $rom the Universit' o$ &adua his thum0 and inde, $ingers as if enumerating his and published 0' Andreas ;orresanus.[2] ;he )or3 points. ;he rings on his $ingers ma' 0e sym0olically had 0een commissioned 0' &eter Ugelheimer, a connected to his arguments $or a spherical and $inite )ealt ' German humanist )ho lived in Venice and universe centered on the earth.[5] His le$t hand is e,- )as a $re=uent partner in the >enson printing and tended to)ards Averro?s. Aristotle )ears a 0lue cape publishing 0usiness. Ugelheimer considered the dec- over a red tunic, yello) 0oots and, on his head, a red orated incuna0ulum a precious collectible.[3] Clearly, close-fitting cap called scuf$ia in Venice.[6] Bn top o$ he spared no e,penses $or the decorations o$ the the scuf$ia he )ears a hat )it a $orward-pointing $rontispieces pre$acing Aristotle's &hysics and 6orks, 0rim. Cot the hat and scuf$ia are adorned )it small $or he engaged Girolamo da Cremona, a )ell-3no)n circular 0eje)eled 0rooches. A red sha)l covers his artist )ho had trained at &adua in .antegna's )or3- stooped shoulders. His long )hite 0eard and hair un- shop and had achieved a reputation as the 0est illu- derscore his old age. Averro?s sits on the ground minator working all'antica. slightly 0elo) Aristotle, on the opposite side o$ the ;he tempera and gold on parchment illumin- composition. He is portrayed )it a long $lo)ing ation )hic portrays Averro?s and Aristotle facing one 0eard and his )hite hair is almost completely covered another, opens the te,t o$ the &hysics volume ($ig. 1). 0' a )hite round turban. ;he .uslim philosopher Girolamo enclosed the figures within a frame)ork in )ears a yello) coat )it a red sha)l and red 0oots. Marina Eel 1egro Farem A Con$lation o$ C aracters 3unstte,te.de 2/2011 - 2 He gestures to)ards Aristotle )hile, pen in hand, he characteristics o$ Je)ish attire. seems read' to )rite his $amous Commentary. ;he ;hroug out Europe >e)s )ere easily recog- Northern alpine setting in )hic the t)o philosophers niza0le 0ecause since the Fourt Lateran Council in are seated ma' 0e a re$erence to Ugelheimer’s Ger- 1215, the' had 0een compelled to )ear some signs man bac3ground. on their clothing to distinguish them $rom Christians. ;he miniature $or the second volume o$ the .ost commonly, the re=uired @distinguishing sign” incuna0ulum portrays the ;urba &hilosophorum ($ig. )as in the $orm o$ a yello) circle or 0adge. 5n 5taly, 2). Here, a group o$ seven philosophers stand almost these regulations )ere variously applied. 5n Venice, in a straight ro) near the 0alustrade o$ a classical starting in the early $ifteent century, )hen the Vene- portico. Centrally placed, Averro?s, )earing a yello) tian authorities discovered that the yello) 0adge or ro0e and light, )hite-yello)ish turban, stands ne,t to ruella could 0e easily covered, the >e)s )ere com- Aristotle. ;he Gree3, sho)n standing to Averro?s' pelled to )ear more prominent signs, usually a yello) right, appears as a 'oung, 0ro)n-bearded man. He is hat, cap or scuf$ia. ;he yello) color, o)ever, )as al- $rontally placed and )ears a 0lue cape and a 0lac3, most universally connected to pimps, prostitutes and )ide-0rimmed hat. His right hand points to)ards a other negative cultural aspects and the >e)s )ere re- cartellino )it the title o$ his 0oo3 on .etaphysics luctant to )ear it. ;here$ore, particularly in periods (Liber &rimus .etaphysicae* )hile his le$t hand points during which the Je)ish presence was essential to to his $amous commentator. Aristotle loo3s 0ac3, to- )ards &lato )ho stands to his right. His old teacher is sho)n in pro$ile, arms crossed over his chest loo3ing to)ards Aristotle. &lato )ears a green ro0e )it a 0ro)n sha)l and, like Aristotle, a )ide-0rimmed hat over a red scuf$ia. ;he t)o $igures 0ehind &lato have 0een identified as the ancient commentators o$ Aris- totle, ;hemistius, )it a red ro0e and 0ro)n sha)l, and Ale,ander o$ Aphrodisias )it a 0lue ro0e and yello) sha)l.[7] Avicenna, the other .uslim philo- sopher in this scene, stands ne,t to Averro?s. He is dressed in a red ro0e and his turban is )rapped around a multi-pointed cro)n. Farthest to the le$t, al- most at the 0orders o$ the scene is a Eominican mon3. He is reading, head do)n, eyes on the pages Fig. 3: Anonymous 4enetian artist, ;ransportation o$ t e Ar3 o$ the Covenant (detail*, tempera on parc ment, a$ter 1475, $olios ! (verso* o$ an open 0oo3. Bn the opposite side o$ the com- and 9 (recto*, &salterium, .ilan, Bi0lioteca ;rivulIiana, in: 5van &enslar and Eere3 Falmar (eds.*, Brientalism and t e >e)s, 6altham position, a monke' )it a prominent red sha)l sits on (Mass.* 2005, cover. the 0alustrade )it his 0ac3 turned a)a' $rom the group. ;he illustrations $or the $rontispieces o$ the the econom' o$ the Venetian Republic, the authorities t)o volumes )ere the last Girolamo completed. Argu- tended to loo3 the other )a' )hen >e)s )ore a red a0ly the 0est miniature painter in the second half o$ hat or scuf$ia.[8] ;he Venetians )ere satisfied in that the $ifteent century, he had )orked $or the Este in red )as still a distinguishing color )hile >e)s $ound it Ferrara. Later, he had 0een active in .antua, &adua, $ar more pre$era0le than the a0omina0le yello). ;he Hiena and Florence 0e$ore going to Venice, )here he shape o$ the >e)ish hat varied. 5talian and 1orthern )orked $rom 1474 until his deat in 1483. Girolamo’s (AshkenaIi) >e)s )ho had esta0lished permanent prolonged sojourn in .antua, Ferrara and Venice, cit- residence in 5taly )ore the same clothes as the Chris- ies )ell 3no)n $or their hig concentration o$ >e)s, tian population. ;he only dif$erence 0et)een Christian )ould have rendered him $amiliar )it the salient and >e)ish headgear )ould have 0een only a matter Marina Eel 1egro Farem A Con$lation o$ C aracters 3unstte,te.de 2/2011 - # o$ colors. Ho)ever, traveling merchants )ho lived in various 5talian cities only $or 0rie$ periods, maintained their native $ashion. ;hus, Northern >e)s typically )ore a 0lac3 )ide-0rimmed hat )it either a $lat or domed cro)n. ;he hat )as )orn over a )ool or linen scuf$ia. Nota0ly, as )e see illustrated in this Venetian &salterium o$ ca. 1475, Levantine (Eastern) Je)s, usu- ally connected to the important silk trade in Venice, maintained their native $ashion o$ )earing long ro0es and turbans )hic )ere in all details similar to the .uslim dress ($ig. #*.[9] 5n Venice, there$ore, Levantine >e)s )ould have 0een virtually indistinguisha0le $rom the .uslim merchants in the city. ;his is noted in vari- ous paintings e,ecuted to)ards the end o$ the Juat- Fig. 5: Anonymous artist, 5talian >e) )earing a at )it $or- )ard-pointing 0rim, $olio !# (verso* ms. add. 26957, British /i0rary, trocento.[10] For e,ample, AshkenaIi and Levantine London, in: ; erese MetIger, >e)ish Li$e in the Middle Ages, Fri- 0ourg 1982, p. 131. >e)s are represented mingling )ith other $oreign mer- chants in Carpaccio's Healing o$ the &ossessed .an at Rialto ($ig. !*, a )ork the artist completed in 1496 5n the $rontispiece to the &hysics ($ig. 1) Aristotle $or the Hcuola Grande di Han Giovanni Evangelista. )ears the distinguishing >e)ish red scuf$ia under his Like many other narrative paintings e,ecuted 0' vari- hat. Ho)ever, the hat has a $orward-pointing 0rim ous artists $or the Venetian Hcuole, Carpaccio’s )ork )hic is dif$erent $rom the typical )ide-0rimmed hat accurately recorded the tiniest details o$ daily life in )orn 0' merchants. ;his is the type o$ hat typically the city.[11] 5n this scene (and indeed in most o$ the )orn 0' >e)ish scholars in the $ifteent century ($ig. other narrative paintings) 5 have identified a num0er o$ 9*. Another mark o$ the @scholarly” >e)ish identit' can >e)s among the cro)ds at the $oot o$ the Rialto 0e seen in Aristotle’s red sha)l or @;allit.” ;he ;allit 0ridge, suc as the t)o AshkenaIi and Levantine )as a type o$ prayer sha)l )orn 0' >e)ish Ra00i and merchants standing in a little separate group.
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  • Mapping Memory. Theories in Ancient, Medieval and Early Modern Philosophy and Medicine

    Mapping Memory. Theories in Ancient, Medieval and Early Modern Philosophy and Medicine

    Special Volume 6 (2016): Space and Knowledge. Topoi Research Group Articles, ed. by Gerd Graßhoff and Michael Meyer, pp. 678–702. Ricardo Julião – Roberto Lo Presti – Dominik Perler – Philip van der Eijk Mapping Memory. Theories in Ancient, Medieval and Early Modern Philosophy and Medicine Edited by Gerd Graßhoff and Michael Meyer, Excellence Cluster Topoi, Berlin eTopoi ISSN 2192-2608 http://journal.topoi.org Except where otherwise noted, content is licensed under a Creative Commons Attribution 3.0 License: http://creativecommons.org/licenses/by/3.0 Ricardo Julião – Roberto Lo Presti – Dominik Perler – Philip van der Eijk Mapping Memory. Theories in Ancient, Medieval and Early Modern Philosophy and Medicine This paper discusses theories of memory as developed by philosophers and medical writers from Graeco-Roman antiquity, the Middle Ages and the Early Modern period. While philosophers had much to say on the nature of memory and recollection, their epistemo- logical role and their relationship to other functions of the soul, medical writers concen- trated on the anatomy,physiology,pathology and indeed the therapeutics of memory and recollection.Yet the close relationship between philosophical and medical approaches was most clearly visible in discussions about the bodily location of memory,where theoretical concepts of the hierarchy of faculties of the soul were connected with clinical observations of memory failure as a result of injury or disease. Body; epistemology; faculty; medicine; memory; philosophy; soul. 1 Introduction: The background in classical philosophy and medicine Among the functions of the soul identified by ancient philosophers and medical writers, memory and recollection attracted considerable attention from a very early stage.