Étiquette : greek

 

Horse-power, the Earthly Science behind China’s “Heavenly Horses”

« Horse Riding on a Flying Bird » (hoof on a swallow or other bird…). This bronze statue of the Gansu Museum is a perfect combination of strength and beauty, both thrilling and stunning. According to Chinese historians, it embodies the majestic, strenuous, bold and enterprising national spirit.

The history of mankind completely changed with the domestication of the horse. Things considered “impossible” before the domestication of the horse became the “new normal”. How and when horses became domesticated has been disputed. Although horses appear in Paleolithic cave art as early as 36,000 BC (Chauvet cave, France), these were wild horses and were probably hunted for meat.

Grotte Chauvet, France.

Zoologists define « domestication » as human control over breeding, which can be detected in ancient skeletal samples by changes in the size and variability of ancient horse populations. Other researchers look at the broader evidence, including skeletal and dental evidence of working activity; weapons, art, and spiritual artifacts; and lifestyle patterns of human cultures. There is evidence that horses were kept as a source of meat and milk before they were trained as working animals.

Bhimbetka Rock Shelters, India.

In India, close to Bopal, the “Bhimbetka rock shelters”, which are the oldest known rock art of the country, figures dance and hunting scenes from the Stone Age as well as of warriors on horseback from a later time (10 000 BC).

Horses were a late addition to the barnyard. Dogs were domesticated 15,000 years ago; sheep, pigs and cattle, about 8,000 to 11,000 years ago. But clear evidence of horse domestication doesn’t appear in the archaeological record until about 5,500 years ago.

Aechemenid, Vth Century BC.

The clearest evidence of early use of the horse as a means of transport is from chariot burials. The earliest true chariots known are from around 2,000 BC, in burials of the Sintashta-Petrovka culture in modern Russia in a cluster along the upper Tobol river, southeast of Magnitogorsk.

They contain spoke-wheeled chariots drawn by teams of two horses.

Kazakhstan and Ukraine

Przewalkski horse.

Up till recently, it was thought that the most common horse used today was a descendant of the horses domesticated by the Botai culture living in the steppes of the Akmola Province of Kazakhstan, around 3500 BC.

Recent genetic research points to the fact that the Botai horses were the forefathers of the Przewalski horse, a species that nearly disappeared.

Our common horse, the Equus ferus caballus, genetic research says, has been domesticated 4,200 years ago in Ukraine, in an area known as the Volga-Don, in the Pontic-Caspian steppe region of Western Eurasia, around 2,200 BC.

As these horses were domesticated, they were regularly interbred with wild horses.

Interesting in this respect, is the fact that according to the Kurgan” or “steppe hypothesis”, most Indo-European languages spread from the same region throughout Europe and parts of Asia.

It postulates that the people of a Kurgan culture in the Pontic steppe north of the Black Sea were the most likely speakers of what some call the Proto-Indo-European language (PIE).

The term is derived from the Turkic word kurgan, meaning tumulus or burial mound.

Tea Road, Horse Road or Silk Road?

Von Richthofen.

As a matter of fact, the main commodities traded on the “Silk Road” (a term only coined in 1877 by the German geographer Ferdinand Von Richthofen), were… horses, mules, camels, donkeys and onagers.

Silk and tea were of course traded, but appeared mainly as a means… to pay for horses. People “paid” with silk, gold, porcelain and tea, the animals they needed to secure the survival of their society!

What was known as the « Tea-Horse Road » (Southern Silk Road) extended from the city of Chengdu in Sichuan Province, China, south through Yunnan into India and the Indochina Peninsula, and extended westwards into Tibet. It was an important route for the tea trade throughout South China and Southeast Asia and contributed to the spread of religions like Taoism and Buddhism across the region.

Eurasian Steppe

Eurasian Steppe and grassland.

China, feeling itself under constant threat from the nomadic steppe people from the North, started building the first parts of its “Great Wall” as early as the VIIth Century BC, with selective stretches joined by Qin Shi Huang (220–206 BC), the first emperor of China and completed under the Ming dynasty (1368–1644) to become one of the most impressive feats in history.

The Eurasian nomads were groups of nomadic peoples living throughout the Eurasian Steppe. The generic title encompasses the varied ethnic groups who have at times inhabited the steppes of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, Uzbekistan, Mongolia, Russia, and Ukraine.

By the domestication of the horse around 2,200 BC (i.e. 4,200 years ago), they vastly increased the possibilities of nomadic life and subsequently their economy and culture emphasized horse breeding, horse riding, and nomadic pastoralism, usually engaging in trade with settled peoples around the steppe edges, be it in Europe, Asia or Central Asia.

Nomads, by definition, don’t create empires. It is thought they operated often as confederations. But it was them who developed the chariot, wagon, cavalry, and horseback archery and introduced innovations such as the bridle, bit, stirrup, and saddle and the very rapid rate at which innovations crossed the steppe-lands spread these widely, to be copied by settled peoples bordering the steppes.

During the Iron Age, Scythian (Persian) culture emerged among the Eurasian nomads, which was characterized by a distinct Scythian art.

China and the Horse

Throughout China’s long and storied past, no animal has impacted its history as greatly as the horse. Its significance was such that as early as the Shang dynasty (ca.1600-1100 BC), military might was measured by the number of the war chariots available to a particular kingdom.

The mounted cavalery, which emerged in the IIIrd century BC grew rapidly during the IInd century BC to meet the challenge of horse-riding peoples threatening China along the northern frontier.

Their large, powerful, horses were very new to China. As said before, traded for luxurious silk, they were the first major import to China from the “Silk Road.”

Chinese grave goods provide extraordinary amounts of information about how the ancient Chinese lived. Archaeological evidence shows that within a few years, the marvelous Arabian steeds had become immensely popular with military and aristocracy alike and upper-class tombs began to be filled with images of these great horses for use in the afterlife. But horses were hard to find in China.

Chinese diplomats and the Kingdom of Dayuan (Ferghana)

Zhang Qian taking leave from Emperor Wu in 138 BCE, Mogao Caves mural from circa 8th century AD.

Something had to be done. In the late IInd Century BC, Zhang Qian, a Han dynasty diplomat and explorer, travels to Central Asia and discovers three sophisticated urban civilizations created by Greek settlers he named « Ionians ». The account of his visit to Bactria, including his recollection of his amazement at finding Chinese goods in the markets (acquired via India), as well as his travels to Parthia and Ferghana, are preserved in the works of the early Han historian Sima Qian.

A tourist takes photos of a roadmap showing Zhang Qian’s second trip to the West at the Tomb of Zhang Qian in Chenggu county of Hanzhong, Northwest China’s Shaanxi province, June 21, 2014.

Upon returning to China, his account prompts the Emperor to dispatch Chinese envoys across Central Asia to negotiate and encourage trade with China. Some historians say that this dicision gave « birth of the Silk Road.«  

Besides Parthia and Bactria, where Chinese goods were being traded via Indian imports, Zhang Qian visited, in the fertile Ferghana valley (today essentially in Tajikistan), a State the Chinese called the “Kingdom of Dayuan” (“Da” meaning “great”, and “Yuan” being the transliteration of Sanskrit Yavana or Pali Yona, used throughout antiquity in Asia to designate « Ionians », i.e. Greek settlers).

The Records of the Grand Historian and the Book of Han describe the Dayuan as numbering several hundred thousand people living in 70 walled cities of varying size. They grew rice and wheat, and made wine from grapes. They had Caucasian features and “customs identical to those of Bactria (the most Hellenistic state of the region since Alexander the Great) which is today’s northern Afghanistan.

The Chinese diplomat reported something of great strategic interest: unbelievable, fast and powerful horses raised by these Ionians in the Ferghana Valley!

Now, as said before, China felt under permanent threat by the nomadic people from the steppes and was in the process of building the “Great Wall”. China also was acutely aware that the nomadic steppe people derived their military superiority from something dramatically lacking at home: powerful horses !

Added to that, the fact that in terms of China’s scale of values, horses where nearly of the same mythological nature as dragons: they could fly and represented the divine, creative spirit of the universe itself, something essential for any Chinese emperor eager to acquire both military security for his Empire and for his personal immortality.

In short, having good horses became an issue of national security. So much, that in 100 BC, the Han dynasty started what is known as the “War of the Heavenly Horses” with Dayuan, when its ruler refused to provide high quality horses to China !

The War of the Heavenly Horses

The War of the Heavenly Horses was a military conflict fought in 104 BC and 102 BC between China and a part of the Saka-ruled (Scythian) Greco-Bactrian kingdom known to the Chinese as Dayuan, in the Ferghana Valley (between modern-day Uzbekistan, Kyrgyzstan and Tajikistan).

First, Emperor Wu decided to defeat the nomadic steppe Xiongnu, who had harassed the Han dynasty for decades.

As said earlier, in 139 BC, the emperor sent diplomat Zhang Qian to survey the west and forge a military alliance with the Yuezhi nomads against another group of nomads, the Xiongnu. On the way to Central Asia through the Gobi desert, Zhang was captured twice. On his return, he impressed the emperor with his description of the « Heavenly Horses » of Dayuan, that could greatly improve the quality of Han cavalry mounts when fighting the Xiongnu.

The Han court sent at least five or six, and perhaps as many as ten diplomatic groups annually to Central Asia during this period to get a hold on these “Heavenly Horses”.

A trade mission arrived in Dayuan with 1000 pieces of gold and a golden horse to purchase these precious animals.

Dayuan, who was one of the furthest western states to send envoys to the Han court at that point, had already been trading with the Han for quite some time and benefited greatly from it. Not only were they overflowed by eastern goods, they also learned from Han soldiers how to cast metal into coins and weapons. However unlike the other envoys to the Han court, the ones from Dayuan did not conform to the proper Han rituals and behaved with great arrogance and self-assurance, believing they were too far away to be in any danger of invasion.

Hence, in a stroke of folly and taken by pure arrogance, the Dayuan king not only refused the deal, but confiscated the payment in gold. The Han envoys cursed the men of Dayuan and smashed the golden horse they had brought. Enraged by this act of contempt, the nobles of Dayuan ordered Yucheng, which lay on their eastern borders, to attack and kill the envoys and seize their goods.

Upon receiving word of the trade mission’s demise, humiliated and enraged, the Han court sent an army led by General Li Guangli to subdue Dayuan, but their first incursion was poorly organized and under-supplied.

A second, larger and much better provisioned expedition was sent two years later and successfully laid siege to the Dayuan capital at Alexandria Eschate, and forced Dayuan to surrender unconditionally.

General Li Guangli.

The Han expeditionary forces installed a pro-Han regime in Dayuan and left with 3,000 horses, although only 1,000 remained by the time they reached China in 101 BCE.

The Ferghana also agreed to send two Heavenly horses each year to the Emperor, and lucerne seed was brought back to China providing superior pasture for raising fine horses in China, to provide cavalry which could cope with the Xiongnu who threatened China.

The horses have since captured the popular imagination of China, leading to horse carvings, breeding grounds in Gansu, and up to 430,000 such horses in the cavalry during the Tang dynasty.

China and the agricultural revolution

After imposing its role in military strategy for the next centuries, horsepower, together with water management, became a crucial factor to raise the productivity of the world’s food production.

First, contrary to the Romans, who preferred to use “human cattle” (slaves) rather than animals (which they raised for race contests), the Chinese greatly contributed to the survival of mankind with two crucial innovations respecting a more efficient use of horse power.

As can be seen in murals and paintings, through the ancient world, be it in Egypt or Greece, plows and carts were pulled using animal harnesses that had flat straps across the neck of the horse, with the load attached at the top of the collar, above the neck, in a manner similar to a yoke used for oxen.

In reality, this greatly limited a horse’s ability to exert itself as it was constantly choked at the neck. The harder the horse pulled, the harder it became to breathe.

Due to this physical limitation, oxen remained the preferred animal to do heavy work such as plowing. Yet oxen are hard to maneuver, are slow, and lack the quality of horses, whose power is equivalent but whose endurance is twice that of oxen.

Han dynasty « breast strap ».

China reportedly first invented the “breast strap” which was the first step in the right direction.

Then, in the Vth Century, China also invented what is called the “rigid horse collar”, designed as an oval that fits around the neck and shoulders of the horse.

It has the following advantages:

–First, it relieved the pressure of the horse’s windpipes. It left the airway of the horse free from constriction improving massively the animal’s energy through-put.

–Second, the traces could be attached to the sides of the collar. This allowed the horse to push forward with its more powerful hind-legs rather than pulling with the weaker front legs.

Now you can argue that this is anecdotal. It is NOT, because what appears as only a slight change had absolutely monumental consequences.

European Renaissance

Use of the « rigid horse collar » in Europe.

In a strategic alliance and cooperation with the humanist Baghdad Abbasid caliphate, Charlemagne and his successors introduced the “rigid horse collar” in Europe.

With that new, far more efficient tool, European farmers finally could take full advantage of a horse’s strength. The horse was able to pull another recent innovation, the heavy plow. This became particularly important in areas where the soil was hard and clay-like. This opened up new plots of lands to agriculture. The rigid horse collar, the heavy plow, and horseshoes helped usher in a period of increased agricultural production.

As crop yields increased by threefold, so did Europe’s and France’s population.

As a result, between 1000 CE and 1300 CE, it is estimated that in Europe, crop yields increased by threefold, allowing to feed a rising number of citizens in the urban cities appearing in the XVth century and kick starting the global “Golden” European Renaissance. Thank you, China!

Some numbers are nevertheless disturbing:

–it took humanity thousands of years to finally domesticate the horse (long after the cow), in 3200 BC.

–it took humanity another 3700 years to learn how to find out, in the Vth century AD, the most efficient way to use horse-power…

Shifting from a “lower” infrastructure platform to a “higher” infrastructure platform might take some time. Today’s new “higher” platforms are called “space data” and “fusion power.” Let’s not wait another century to find out how to use them correctly!

Merci de partager !

Rembrandt: 400 years old and still young!

Selfportrait

Rembrandt H. van Ryn, was born on July 15, 1606, as the son of a not so poor miller living in the revolutionary city of Leyden in the Netherlands.

Today (2006), four hundred years later, even without any knowledge of the specific historical context, few are those that remain indifferent to his artistic message and skill. Why Rembrandt? What particular quality of his paintings, engravings and drawings gave him the power to reach over centuries of time?

As we will document here, Rembrandt, a precocious intellectual, became already quite « universal » as a young adult. But let’s try to find out what « universal » means.

The Revolt of the Netherlands

The revolt of the Burgundian Netherlands (Note 1) against the tyranny the Fuggers, bankers at the helm of the Spanish and Austrian Habsburg empire, resulted in the tragic break-up of this « nation-state in the making » between the north (today’s Netherlands) and the south (the territory that today includes Belgium and part of northern France).

The Habsburg empire, while brutally sticking to the rich southern part (Flanders), cynically offered the « insurgents » that, if they wished to have a country, they could settle in the malaria-infested swamps of the North, where 75% of the territory lies below sea level, but nevertheless an area slowly domesticated by generations of hardworking farmers thanks to a vast system of canals, dikes and locks, patiently erected since the end of the thirteenth century.

But Charles V, and even worse, his son Philip II of Spain, didn’t believe in the power of mind or that of work. Instead, they believed in the power of the sword and the terror of the Inquisition. After a long war and much unnecessary bloodshed, their policies had reached an impasse, and on April 9, 1609, the semi-bankrupt Habsburgs were forced to sign a twelve-year truce with the new Republic of the Netherlands.

Education

That same year, Rembrandt, hardly 3 years old, entered basic school, where girls and boys learn to read, to write and to calculate. School opens at 6 a.m. in the summer, at 7 a.m. in winter, and finishes only at 7 p.m. Classes start with prayer, the reading and discussion of passages of the Bible and the singing of psalms. Here Rembrandt develops an elegant handwriting and more than rudiments of the Bible.

The Netherlands want to survive. Its leaders wisely used the 12 year truce (1609-1621) to fulfill their commitment to the general welfare. This way, early XVIIth century Holland became maybe the first country of the world where everybody got the chance to learn how to read, write and calculate.

That universal school system, whatever its inadequacies, offered to both poor and rich alike, was the secret of the Dutch « Golden Century ». It’s schooling will also create the generations of Dutch immigrants that will participate a hundred years afterwards in the American Revolution

Others would enter the secondary school at the age of 12, but Rembrandt precociously enters Leyden’s Latin School at the age of 7. There, pupils generally, besides rhetoric, logic and calligraphy, learn, not only Greek and Latin, but English, French, Spanish or Portuguese. Then, in 1620, at the age of 14, since no age limit in the Netherlands bridled young talents, Rembrandt inscribed at the Leyden University. His choice is not Theology, Law, Science, nor Medicine, but Literature.

Did Rembrandt want to add to his knowledge of Latin, the mastery of Greek and Hebrew philology and perhaps Chaldean, Coptic or Arabic? After all, Leyden was already publishing Arabic-Latin dictionaries, while the Netherlands were increasingly growing to become the book printing centre of the world.

From its foundation in 1585, after a historic battle for the city’s freedom, Leyden University became a rallying point for humanists worldwide and a center for new discoveries in optics, physics, anatomy and cartography, offering the world such famous scientists as Christian Huygens (1629-1695) and Antonie van Leeuwenhoek (1632-1723), both correspondents of Leibniz.

People flocked in from Flanders, Germany, Denmark, Sweden, England and even Hungary. By 1621, over fifty Frenchmen were teaching in Leyden. In a desperate effort to pollute this source of creativity, in 1630, René Descartes registered as a « mathematician » at the University of Leyden. (Note 2)

But the big trouble had already started way before. A disastrous theological « debate » degenerated into a conflict akin to civil war. On the one side, Jacob Arminius, founder of the « Remonstrant » current upholding the Erasmian-Rabelaisian concept of man endowed with a free will although that free will remained to be fine-tuned with the grace of God. This view was also held by the elder general and capable national leader, Johan van Oldenbarnevelt (1547-1619).

On the opposing side, one Franciscus Gomarus, defender of the fatalist Calvinist doctrine of « predestination », a doctrine adhered to by Prince Maurits, the young incoming son of the founder of the nation, William the Silent. While leaders were strongly divided, the 1619 « Dordrecht Synod » installed the radical Calvinist doctrine as the law.

Johannes Uytenbogaert

But Leyden was mostly « Arminian » and so was Rembrandt. Rembrandt’s 1633 and 1635 portraits of Johannes Uytenbogaert, the main reverend leading the Arminians who was obliged to spent several years of his life in exile to escape from persecution, show how closely Rembrandt was connected to this movement.

So, when Rembrandt entered University, the situation was very hot. Arminian-minded teachers are on the leave and often forced to do so. So was Rembrandt, and after two months, at age 14, he quitted University and went full time into painting and set up his own workshop.

By 1621, the truce had come to an end, and the Spanish army was once again conducting an all-out war against the Netherlands, which was accused, not without reason, of supporting the Bohemian revolt and harboring the leaders of its resistance. (Note 3)

As a young intellectual confronted with injustice and political and religious madness, Rembrandt entered the studio of Jacob Isaaczoon van Swanenburg, a learned Dutch painter who lived in Venice and Naples, where he worked from 1600 to 1617 before running into trouble with the Inquisition, which accused him of « painting on Sundays ».

Few works have survived from this master, renowned for his city views and portraits. But his subjects and style resemble those of the great humanist Hieronymus Bosch. For three long years, Rembrandt learned how to grind pigments, master essences, varnishes, brushes, canvases and panels.

But above all, Swanenburgh made his pupil a master in the art of engraving and etching.

Pelgrims of Emmaus

The supper at Emmaus, Rembrandt, 1628.

Rembrandt’s interest in the power of ideas clearly appears in the « Pilgrims at Emmaus », where an atmosphere of astonishment and horror break out when Christ reveals himself to the disbelievers.

Self-portrait, Pieter Lastman.

Then, before setting up his studio, Rembrandt will spend six months in the workshop of Pieter Lastman in Amsterdam. With Lastman, Rembrandt finally finds a master that departs from the traditional Dutch landscapes, still-lives and boring group portraits.

Building on the theatrical settings of Caravaggio, Lastman paints biblical, Greek and Roman mythology. He paints history! And Rembrandt always desired to become a historieschilder. Now, Rembrandt finally found in painting the literature he was looking for when inscribing in the University.

Also, in Lastman’s workshop, he meets the talented Jan Lievens, with whom he will work for a while.

Knowing how to know thyself

Rembrandts reputation is largely the fruit of the near to one hundred multiform self-portraits, including about twenty engravings, covering the walls of numerous museums around the world. Some pragmatists tell us Rembrandt did that many self-portraits because he just was the cheapest model in town, and probably the most patient one. Others claim he was simply noting down his unending grimaces, the famous tronies, to prepare future dramatic historical paintings.

We think there is more to it and we approve Simon Schama who wrote that, « The reason for the multiplication of his self-image was not a relentless, almost monomaniacal assertion of the artistic ego but something like the exact opposite. »

The self-portrait, an art expression that has nearly disappeared from today’s practice, always throws an extremely daring challenge to the painter looking into the mirror. Is this me? I didn’t realize I look that way. I’ve changed again! What is wrong? The a priori ideas in the mind of the perceiver or the sense perceptions he’s confronted with? Real thinking, in essence, comes down to confronting not just those burning paradoxes, but the joy of overcoming them with self reflexive irony, and a truthful commitment to the permanent discovery and communication of that increasing irony through a Socratic dialogue.

Rembrandt, at the age of 22 starts training his first pupil, Gerrit Dou, only fifteen years old. Samuel van Hoogstraten, who was another young pupil, reported Rembrandt advising him:

« Try to learn introducing in your work what you know already. Then, very soon, you will discover what escapes you and want to discover. »

Hoogstraten’s self-portrait at age 17 demonstrates what a contagious genius Rembrandt became rapidly as a teacher.

But Rembrandt’s main problem was to show movement. Anima means soul and for Rembrandt animating the mind of the viewer was the art of making that viewer conscious of his own quality of moving the soul, i.e. moving the mover. Through this process of teaching and self-teaching Rembrandt works out various ways to tell his-stories.

One funny way to put faces into motion is to wrap them into clothing, put on jewelry, and choose a specific light setting that generates interesting eye-attracting shadows bringing into light the plastic volumes. Explore facial expressions evoking anger, fear, happiness, self-doubt, laughter, etc.

The real subject is not Rembrandt, but the discovery of human consciousness through self-consciousness. The mirror image permits oneself to look over one’s shoulder down on oneself. Leonardo and others advised artists to view their own work in a mirror, since the « fresh » mirror image offered the artist another « viewpoint », revealing those remaining imperfections that had escaped from his attention.

Rembrandt’s wife, Saskia

Also, the compassion and self esteem one is forced to develop in that process becomes a basic ingredient for promethean and agapic character formation. Then, Rembrandt’s joyful process of self-discovery spills naturally over into the portraits done of others.

Look how funny Saskia smiles, when she dresses up « as Rembrandt » with a feathered reddish hat, carrying a golden chain and with her little hand lost in Rembrandt’s large glove.

Then, there are also the self-portraits in assistenza, where the painter’s face pops up uninvited in a larger painting, such as in Velazquez« Las Meninas ».

The Stoning of Saint-Stephen

The Stoning of Saint-Stephan

One of Rembrandt’s grimacing faces appears behind the martyr in the first known painting by the young Rembrandt, The Stoning of Saint-Stephen. Executed at the age of 19, the work powerfully expresses the basis of Rembrandt’s ideas. Loaded with some twenty figures, the subject had previously been treated by Lastman and Adam Elsheimer, a young German Mannerist living in Rome, whose works Rembrandt had admired while contemplating reproductions in Swanenburgh’s studio.

But why Saint-Stephen? Rembrandt’s choice stems directly from the subject. This Greek-speaking Jewish convert, the first Christian martyr, was tried by a court of law for blasphemy. He unabashedly told the Sanhedrin judges that they were « stiff-necked and uncircumcised in heart and ears » and that they were people who had « received the law by the disposition of angels, and have not kept it… »

Stephen also told them that God could not be kept « locked up in a temple ». At one point, Stephen,

« being full of the Holy Spirit, and having his eyes fixed on heaven, saw the glory of God, and Jesus standing at the right hand of God, and he said: ‘Behold, I see the heavens opened, and the Son of Man standing at the right hand of God’.

« And crying aloud, they stopped their ears, and with one accord rushed upon him; and having pushed him out of the city, they stoned him; and the witnesses laid their garments at the feet of a young man called Saul. And they stoned Stephen, who prayed and said: Lord Jesus, receive my spirit. And kneeling down, he cried aloud: Lord, do not impute this sin to them. »

The painting leaves the left side entirely in shadow, in a partially failed attempt to evoke the idea of Stephen seeing the « open heavens. » Saul is in the shadows because he is the one encouraging the execution. Later, on the road to Damascus, he would have his own vision of the « heavens opening » and in turn convert to Christianity, since Saul is none other than the future St. Paul.

In short, as we have said, at the age of 19, Rembrandt powerfully asserts the principles for which he wants to live and for which he is prepared to die, ideas that he must have discovered at the age of fourteen during the great Sophist event, the great « theological debate » that was the beginning of the end of the Republic.

Ideas

Historians might scream there is no space here for political manifestos. They are right. Rembrandt’s ideas go far beyond simple minded militantism, and their political impact is much more profound.

In 1641, an artist, Philips Angel, adressing the painting guild, honored Rembrandt and underscored the artist’s « elevated and profound reflection ». What were these « elevated and profound » ideas all about?

  • Truth. Somebody must mobilize the courage to stand up and tell the truth in front of established authorities or misleading public opinion. That theme comes regularly back, notably with « Suzanna and the Elders ». Daniel, a witness of injustice will speak up and saves Suzanna from the death sentence.
  • Reason. Faith and religion do not always coincide with religious rites. Look to the angry angel preventing Abraham from killing his own son in « The sacrifice of Isaac ». Think before acting! Reason, love of God and love for mankind must guide any religious practice and on the basis of reason, a dialogue of cultures can enrich humanity.
  • Self-perfection. Change, yes. People can find in themselves the means to identify their errors and change for the better. The example of Saint-Paul will stand as a permanent reference for Rembrandt, who painted him several times and even represented himself as the Church father.
  • Love, Repentance, Pardon. In a period of permanent danger of « religious wars », Rembrandt strongly identifies with Saint Stephen’s demand « Lord, lay not this sin to their charge. » Rembrandt will paint several times « The return of the prodigal son ». The father gives a great feast for the returning son because he « who was dead came back to life ». The notion of pardon, and acting in the advantage of the other, will become the key concept for the success of the world Peace of Westphalia concluded in 1648 ending the thirty years war, including the recognition of the Netherlands as a sovereign state.

The Night Watch

The Night Watch

Misrepresented as a nocturnal scene, the Night Watch is probably one of the greatest intellectual provocations against cold Aristotelian classicism.

The Netherlands was at war. Amsterdam, like most major cities, maintained a considerable militia of archers, crossbowmen and harquebusiers. These small citizen armies had a firing range and a meeting hall, the Kloveniersdoelen, where soldiers could rest after training.

Obviously, such glorious gatherings deserved to be immortalized in vast group portraits, where all the members of the company was presented in such a way that, as van Hoogstraten put it, « you could, as it were, behead them all with a single cannon shot. »

Rembrandt completely overturned this traditional representation. Firstly, apart from the 2 captains and their 16 companions (who each paid for their presence on the canvas), Rembrandt added another third of figures to the original number.

Secondly, the revolutionary concept implemented is the idea of depicting the whole group as « on the march », not just advancing, but raising flags and weapons after passing under a circular arch seen just behind them.

Thirdly, a spectacular sense of movement emanates from the rapid oscillation of a chiaro-oscura, illuminating one part, casting another into shadow.

Finally, the show seems formally a confused, chaotic scene. People enter from all sides. In infinite heteronomy, one loads his rifle, another beats the drum, another raises his spear while another stares at his rifle.

Beyond this apparent hectic confusion, what remains is the spirit of a republican citizenry called to arms and moving from chaos to unity, a subject Rembrandt represented the same year in an allegorical oil sketch, Concord of the State.

Against narrow academic rigor, the spirit of inclusion of the multitude so common to Flemish painters like Bruegel was once again manifesting itself.

Van Hoogstraten, defending Rembrandt against these critics (as usual, those who were jealous of his brilliant performance) commented:

« Rembrandt observed this requirement [of unity] very well… and although in the opinion of many he went too far, making the painting more according to his personal taste than according to the individual portraits he had been commissioned to paint.

Nevertheless, the painting, no matter how harsh the critics, will stand, in my judgment, against all these rivals because it is so picturesque in its conception and because it is so powerful that, according to some, all the other doelen works look like playing cards in comparison. »

Immortality

We took here just a few examples to demonstrate that Rembrandts universal character derives directly from his ruthless commitment, directed to make us conscious of the creative potential given to all human beings, men and women, old and young, Christians, Jews, Muslims or others, a creative and creating human nature called the soul.

This commitment is once again available in today’s new generation and can therefore be mobilized for great achievements.

From this point of view, Rembrandt is in a good position to become a reference individual capable of leading us out of the current cultural « dark age », where video games teach our children to take perverse pleasure in gratuitous violence and push them to become « naturally born killers ».

In contrast, a Rembrandt who catches life and loves mankind will trace the divine in the slightest spark of light. As some sort of 5th apostel, without ever painting God directly, Rembrandt reveals the harmony of his creation.

Those who took time studying his paintings can tell themselves: « God exists, I just met Rembrandt », since through Rembrandt’s art God’s tender love and blessing power are revealed to us in our human reality.

That « immortal » nature of Rembrandt’s soul will doubtlessly nourish the « immortality » of the creative geniuses he will inspire. Let us not wait another four hundred years to celebrate such a genius, for what he brings us is living and not to be buried in the history of art

Notes:

  1. Friedrich Schiller, The revolt of the Netherlands; Karel Vereycken, How Erasmus Folly saved our Civilization; Karel Vereycken, « Rembrandt, bâtisseur de nations » in Nouvelle Solidarité, June 10 and 17, 1985.
  2. Years earlier, René Descartes, using his own funds, made a trip to Bohemia and in 1620 took part in the battle of Montagne Blanche, leading to the massacre of Prague, the capital of Bohemia. One biographer reports that Descartes, entering Prague, immediately appropriated Kepler’s Brahe scientific instruments.
  3. For a detailed report on the links between Rembrandt and Comenius and the Bohemian revolt, see Karel Vereycken, The light of Agapê, Rembrandt and Comenius versus Rubens, Ibykus N°85, 2003.
  4. Ernst van Wetering, director of the Rembrandt Research Project (RRP), on the basis of scientific examinations of Rembrandt’s works, estimates that the master required his models to pose for three hours a day for at least three months.
  5. Karel Vereycken, Leonardo, painter of movement, Fusion N°108, 2006.
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Raphael 1520-2020: What Humanity can learn from « The School of Athens »

On the occasion of the five-hundredth anniversary of the death of the Italian painter Raffaello Sanzio da Urbino (1483-1520), several exhibitions are honoring this artist, notably in Rome, Milan, Urbino, Belgrade, Washington, Pasadena, London, and Chantilly in France.

The master is honored, but what do we really know about the intention and meaning of his work?


Introduction

Raphael, portrait of a young boy.

There is no doubt that in the collective mind of the West, Raphael, along with Michelangelo and Leonardo da Vinci, appears as one of the most brilliant artists and even as the best embodiment of the « Italian Renaissance”.

Although he died at the age of 37, Raphael was able to reveal his immense talent to the world, in particular by giving birth, between 1509 and 1511, to several monumental frescoes in the Vatican, the most famous of which, 7.7 meters long and 5 meters high, is known as The School of Athens.

The viewer finds himself inside a building that brings together the thoughts of all mankind: united in a timeless space, fifty philosophers, mathematicians and astronomers of all ages meet to discuss their vision of man and nature.

French National Assembly.


The image of this fresco embodies so powerfully the « ideal » of a democratic republic, that in France, during the February 1848 revolution, the painting representing Louis Philippe (till then hanging behind the President of the National Assembly) was taken down and replaced by a representation of Raphael’s fresco, in the form of a tapestry from the Manufacture des Gobelins, produced between 1683 and 1688 at the request of Jean-Baptiste Colbert, the founder of the French Academy of Sciences.

Then, in France, arrived the idea that Raphael, being « the Prince of painters », embodied « the ultimate artist ». Superior to Rubens or Titian, Raphael was thought to have achieved the subtle « synthesis » between the « divine grace » of a Leonardo da Vinci and the « silent strength » of a Michelangelo. What more can be said ? A true observation as long as one looks only at the purity of the « forms » and thus of the « style ». Adored or hated, Raphael was erected in France as a model to be imitated by every young talent attending our Academies of Fine Arts.

Hence, for five centuries, artists, historians and connoisseurs have not ceased to comment and often to confront each other, not on the intention or the meaning of the artist’s works, but on his style! In a way akin to some of our contemporaries who adore Star Wars and its special effects without paying attention to the ideology that, underhandedly, this TV series conveys…

For this brand of historians, « iconography », that branch of art history which is interested in the subjects represented, in the possible interpretations of the compositions or particular details, is only really useful to appreciate the « more primitive » paintings, that is to say that of the « Northern Schools »…

One knows well, especially in France, that once the « form » takes the appearance of perfection, it does not matter what the content is! This or that writer tells abject horrors, but « it is so well written! »

The good news is that in the last twenty years or so, a handful of leading historians and especially female art historians, have undertaken and published in depth new research.

I am thanking in particular of Marcia Hall (Temple University), Ingrid D. Rowland (University of Chicago), Reverend Timothy Verdon (Florence and Stanford), Jesuit historian John William O’Malley, and especially Christiane L. Joost-Gaugier.

The latter’s book Raphael’s Stanza della Signatura, Meaning and Invention (Cambridge University Press, 2002), which I was able to read (thanks to the pandemic lockdown), allowed me to adjust some of the leads and intuitions I had summarized in 2000 in, let’s be honest, a rather messy note.

If my work had consisted in trying to give some coherence to what is in the public domain, through their assiduous archival work in the Vatican and elsewhere, these historians, for whom neither Latin nor Greek have any secrets, have largely contributed to shed new light on the political, philosophical, cultural and religious context that contributed to the genesis of Raphael’s work.

Enriched by these readings, I have tried here, in a methodical way, to « make readable » what is rightly considered Raphael’s major work, The School of Athens.

Instead of identifying and commenting from the outset on the figures we see in the Stanza della Segnatura (« Room of the Segnatura” of the Vatican in Rome), I have chosen first to sketch a few backgrounds that serve as “eye-openers” to penetrate this work. For, in order to detect the painter’s intentions, actions and feelings, it is essential to penetrate the spirit of the epoch that engendered the artist’s: those days political and economic challenges, the cultural heritage of Rome and the Church, a close-up on the pope who commissioned the work, the philosophical convictions of the advisors who dictated the theme of the work, etc.

However, if all this seems too tedious for you dear reader, or if you are just eager to familiarize yourself with the work, nothing prevents you from going back and forth between the deciphering of the frescoes at the end of this article (Guided visit) and the contextualization that precedes them.

Cleaning our eyeglasses

General view of two of Raphael’s four frescoes decorating the Chamber of the Signature.


To see the world as it is, let’s wipe our glasses and stop looking at the tint of our glasses. For as is often the case, what « prevents » the viewer from penetrating a work, from seeing its intention and meaning, is not what his eyes see as such, but the preconceived ideas that prevents him from looking at the outside world. Learning to see usually starts by challenging some of our preconceptions.

1. It’s not a easel painting! Since the 16th century, we Europeans have been thinking in terms of « easel paintings » (as opposed to mural). The artist paints on a support, a wooden panel or a canvas, which the client then hangs on the wall. However, The School of Athens, as such, is not a « painting » of this type, but simply, in the strict sense, a part or a « detail » of what we would call today, « an installation ». I explain myself. What constitutes the work here is the whole of the frescoes and decorations covering the ceiling, the floor and the four walls of the room! We will explain them to you. The viewer is, in a way, inside a cube that the artist has tried to make appear as a sphere. So, to « explain » the meaning of The School of Athens, in isolation from the rest and without demonstrating the thematic and symbolic interconnections with the iconography of the other walls, the ceiling and the floor, is not only an exercise in futility but utter incompetence.

2. Error of title! Neither at the time of its commission, nor at the time of its realization or in the words of Raphael, the fresco carried the name “School of Athens”! That name was given later. Everything indicates that the entire room covered with frescoes was to express a divine harmony uniting Philosophy (The School of Athens), Theology (on the opposite side), Poetry (on its right side) and Justice (on its left side). We will come back to that.

3. The theme is not the artist’s choice!
The only person who met both Raphael and Pope Julius II during his lifetime was the physician Paolo Giovio (1483-1552) who arrived in Rome in 1512, a year before the death of Julius II. According to Giovio, it was the pontiff himself who, as early as 1506, that is, two years before Raphael’s arrival, conceived the contents of the « Signing Chamber ». This is logical, since it was the place where he installed his personal library, a collection of some 270 books, arranged on shelves below the frescoes and classified according to the themes of each wall decoration (Philosophy, Theology, Poetry and Justice). However, given the complexity of the themes, and given Julius II’s poor literary culture, historians agree that the intellectual authorship of the frescoes was attributed to the pope’s advisors and especially to the one who would have been able to synthesize them, his chief librarian, Thomaso Inghirami (1470-1516).

Raphael, who seems to have constantly modified his preparatory drawings according to the feedback and comments he received from the commissioners, was able to translate this theme and program into images with his vast talent. In short, if you like the images, congratulate Raphael; if you like or don’t like the content, talk to the « boss ».

On the far right side of The School of Athens, Raphael and Il Sodoma seem to co-sign the fresco.

4. Painted by several people? What remains to be clarified is that, according to Vatican accounts, the entire decoration of the room was entrusted in mid-1508 to the talented fresco artist Giovanni Antonio Bazzi (1477-1549), six years older than Raphael and known as Il Sodoma. He appears to be the only person to have received any money for this work. Raphael does not appear in these accounts until 1513…

However, as the cycle of frescoes on the life of St. Benedict in the territorial abbey of Santa Maria in Monte Oliveto Maggiore testifies, Sodoma also had considerable talent, and above all, an incomparable know-how in fresco technique. Although he has never been honored, his style is so similar to Raphael’s that it is hard to mistake him.

Portrait of Pietro Aretino by the Venetian painter Titian.

It should also be noted that Sodoma, who came to Rome at the request of the pope’s banker Agostino Chigi (1466-1520), was asked to decorate the latter’s villa in 1508, which would have given Raphael free rein in the Vatican before joining him on the same site.

According to the french historian Bernard Levergeois, the sulphurous Pietro Aretino (1495-1556), a pornographic pamphleteer, before becoming the protégé and « cultural agent » of the banker Chigi in Rome, spent many years in Perugia.

There he took interest in the young pupils of Pietro Perugino (c. 1448-1523), Raphael’s master, and, says Levergeois, it was there that he

met the most prestigious painters of the day: Raphael, Sebastiano del Piombo, Julius Romano, Giovanni da Udine, Giovan Francesco Penni and Sodoma, all of whom took turns decorating the magnificent villa (the Farnesina) that Chigi had built in Rome. Some of them also worked on the no less famous Villa Madam (for pope Julius II), a grandiose project that was never completed.

Aretino as he appears in Michelangelo’s fresco in the Sistine Chapel.

As seen in the portrait painted by Titian, Aretino, nicknamed « the scourge of Princes », was a powerful, possessive and tyrannical character. A blackmailer, a flamboyant pansexual and well-informed about what was going on in the alcoves of the elites, he worked himself up, like FBI boss Edgar Hoover in the Kennedy era, as a king-maker, a power above power. Historians report that both Raphael and Michelangelo, before showing their works to the public, felt compelled to seek the advice of this pervert Aretino.

And in the Sistine Chapel, Michelangelo depicts St. Bartolomeo in the guise of the Aretino. The artist must have thought that the traditional attribute of the martyr flayed alive was a perfect fit for the one who was bullying him: he is wearing the remains of his own skin and holding in his hand the large knife that was used for the torture…

It is therefore tempting to think that it was Aretino, the favorite of the Pope’s banker, and not necessarily Renaissance architect Donato Bramante, as is commonly accepted, who may have played the role of intermediary in bringing both Sodoma and Raphael to Rome in order to revive the glory of his patron and the oligarchy that held the Eternal City in contempt.

To my knowledge, Raphael, neither in his own letters nor in the statements reported by his entourage, would have commented on the theme and intention of his work. Strange modesty. Did he consider himself a simple « decorative painter »?

Finally, if Sodoma‘s participation in the realization of the School of Athens remains to be clarified, his portrait does appear. He is in the foreground on the far right, standing side by side to a rather sad Raphael (both on the side of the Aristotelians). A double signature?

This makes the question arise: Can one continue to speak of the frescoes as painted « by Raphael »? Are they not rather the frescoes of the four men team composed of Julius II, Inghirami, Sodoma and Raphael?

An unusual patron, « the warrior pope » Julius II

Medal with the effigy of Julius II the « Ligurian » (Genoese). On the back, the project of reconstruction of the Basilica of St. Peter in Rome.

Before talking about these famous « impresarios of the Renaissance » and understanding their motivations, it is necessary to explore the character of future pope Julius II: Giuliano della Rovere (1443-1513). He was appointed bishop of Carpentras by Pope Sixtus IV, his uncle. He was also successively archbishop of Avignon and cardinal-bishop of Ostia.

On October 31, 1503, 37 of the 38 cardinals composing the Sacred College, make him the head of the Western Church, under the name of Julius II, until its death in 1513, a moment Giuliano had been waiting for 20 years.

Before him, others had made their way. In fact, in 1492, his personal enemy, the Spanish Rodrigo de Borgia (1431-1503), succeeded in getting himself elected as pope Alexander VI. True to the legendary corruption of the Borgia dynasty, he was one of the most corrupt popes in the history of the Church. Jealous and angry at his own failure, Giuliano accused the new pope of having bought a number of votes. Fearing for his life, he leaves for France to the court of King Charles VIII, whom he convinces to lead a military campaign in Italy, in order to depose Alexander VI and to recover the Kingdom of Naples… Accompanying the young French king in his Italian expedition, he enters Rome with him at the end of 1494 and prepares to launch a council to investigate the pope’s actions. But Alexander VI managed to circumvent the machinations of his enemy and preserved his pontificate until his death in 1503.

Medal with the effigy of the pope Alexander VI Borgia.

From the moment of his accession, Giuliano della Rovere confessed that he had chosen his name as pope, Julius II, not after Pope Julius I, but in reference to the bloodthirsty Roman dictator Julius Caesar. He asserts from the start his firm will to restore the political power of the popes in Italy. For him, Rome must once again become the capital of an Empire much larger than the Roman Empire of the past.

When Julius II took office, decadence and corruption had brought the Church to the brink. The territories that would later become Italy were a vast battlefield where Italian condottieri, French kings, German emperors and Spanish nobles came to fight. The ancient city of Rome was nothing more than a vast heap of ruins systematically plundered by rapacious entrepreneurs in the service of princes, bishops and popes, each one seeking to monopolize the smallest column or architrave likely to come and decorate their palace or church. Reportedly, out of the 50,000 inhabitants of the city, there were 10,000 prostitutes and courtesans…

Obviously, Julius II was the pope chosen by the oligarchy to restore a minimum of order in the house. For, particularly since 1492, the extension of Catholicism in the New World and then in the East, required a « rebirth », not of « Christian humanism », as during the Renaissance of the early 15th century, but of the authority of the Church.

The spread of printing and humanism in Europe.

For us today, the word « Renaissance » evokes the heyday of Italian culture. However, for the powerful oligarchs of Raphael’s time, it was a matter of resurrecting the splendor of Greco-Roman antiquity, embodied in the glory of the Roman « Republic », mistakenly idealized as a great and well-administered state, thanks to efficient laws, capable civil servants possessing a great culture, based on the assiduous study of Greek and Latin texts.

And it is well to this rebirth of the Roman authority that Julius II is going to dedicate himself. In first place by the sword. In less than three years (1503-1506), the rebellious César Borgia is reduced to impotence. He was the illegitimate son of Pope Alexander VI who, at the head of an army of mercenaries, waged war in the country and terrorized the Papal States,

In 1506, Julius II, quickly nicknamed « the warrior pope » at the head of his troops, took back Perugia and Bologna.

As the humanist Erasmus of Rotterdam (1467-1537), who was present in Italy and was an eyewitness to the sacking of Bologna by the papal troops, reproached him, Julius II preferred the helmet to the tiara. Questioned by Michelangelo in charge of immortalizing him with a bronze statue, to know if he did not wish to be represented with a book in his hand to underline his high degree of culture, Julius II answers:

Why a book? Rather, show me a sword in hand.

Originally from the region of Genoa (Liguria), Julius II undertook to chase the Venetians, whom he abhorred, out of Romagna, which they occupied. « I will reduce your Venice to the state of hamlet of fishermen from which it left, » had said one day the Ligurian pope to the ambassador Pisani, to which the proud patrician did not fail to retort:

And we, Holy Father, we will make of you a small village priest,
if you are not reasonable…

This language gives the measure of the bitterness to which one had arrived on both sides. In the bull of excommunication launched shortly afterwards (April 27, 1509) against the Venetians, these were accused of « uniting the habit of the wolf with the ferocity of the lion, and of flaying the skin by pulling out the hairs… ».

The League of Cambrai

Italy at the time of the Ligue of Cambrai.

Against the rapacious practices of Venice, on December 10, 1508, in Cambrai, Julius II officially rallies to the « League of Cambrai », a group of powers (including the French King Louis XII, the regent of the Netherlands Margaret of Austria, King Ferdinand II of Aragon and the German Emperor Maximilian I).

For Julius II, the happiness is total because Louis XII comes in person to expel the Venetians of the States of the Church. Better still, on May 14, 1509, after its defeat by the League of Cambrai at the battle of Agnadel, the Republic of Venice agonizes and finds itself at the mercy of an invasion. However, at that juncture, Julius II, fearing that the French would establish their influence on the country, made a spectacular turnaround. He organized, from one day to the next, the survival of Venice!

His treasurer general, the Sienese banker Agostino Chigi (a Sienese billionaire close to the Borgias, to whom he had lent colossal sums of money and later Raphael’s patron), set the conditions:

  • In order to pay for the Swiss mercenaries capable of repelling the attackers of the Ligue of Cambrai, Chigi granted the Venetians a substantial loan.
  • In exchange, the Serenissima agreed to give up its monopoly on the trade of alum that it imported from Constantinople. At the time, alum, an irreplaceable mineral used to fix fabric dyes, represented a real « strategic » issue.
  • Once Venice stopped importing alum, the entire Mediterranean world was forced, from one day to the next, to obtain supplies, not from Venice, but from the Vatican, that is to say, from Chigi, who was in charge of exploiting the « alum of Rome » for the Papacy, located in the mines of the Tolfa mountains, northwest of Rome in the heart of the Papal States.
  • Aware that its very survival was at stake, and for lack of an alternative, Venice grudgingly accepted the golden deal.

In his biography on Jules II, french historian Ivan Cloulas specifies:

Above all stands out Agostino Chigi, the banker from Siena, farmer of the pontifical mines of alum of Tolfa since the reign of Alexander VI. The favor that this character enjoyed with Julius II is surprising, since he was a banker who had long served Caesar Borgia. The pontiff, according to the tradition, conferred at the time of his accession the load of ‘depositary’ to one of his Genoese compatriots, Paolo Sauli, charged to carry out all the financial transactions of the Holy See in connection with the cardinal camerlingue Raffaelo Sansoni-Riario. But Chigi did not suffer disgrace, because he advanced Julian della Rovere considerable sums of money to buy electors [cardinal members of the Sacred College], and he made the exploitation and export of alum extracted from the pontifical mines a success. The experience and value of the Sienese made him a partner of the various bankers of the papacy, notably the Sauli and the Fugger, who gained new wealth as the fruitful trade in indulgences developed in Germany.

Hence, now in alliance with Venice, Julius II, in what appears to the naive as a spectacular « reversal of alliance », set up the « Holy League » to « expel from Italy the Barbarians » (Fuori i Barbari!). A coalition in which he made enter the Swiss, Venice, the kings Ferdinand of Aragon and Henri VIII of England, and finally, the emperor Maximilian. This league will then drive out the French out of Italy. Julius II said with irony:

If Venice had not existed,
it would have been necessary to invent it.

In response, Louis XII, the King of France, attempted to transpose the struggle into the spiritual realm. Thus, a national council, meeting in Orleans in 1510, he declared France exempt from the obedience of Julius II. A second council was convened in Italy itself, in Pisa, then in Milan (1512) trying to depose the pope. Julius II opposed to the King of France the Vth ecumenical council of the Lateran (1512) where he will welcome warmly those who abandoned that of Milan…

Maritime Empires

Julius II was determined to re-establish his authority both on land and on the oceans. A bit like in ancient Greece, Italy experienced a rather particular phenomenon, that of the emergence of « maritime republics ». If the « Republic of Venice » is famous, the maritime republics of Pisa, Ragusa (Dubrovnik on the Dalmatian coast), Amalfi (near Naples) and Genoa are less known.

In each case, operating from a port, a local oligarchy built a maritime empire and above all poisoned its competitors. However, maritime activity, by its very nature, implies taking risks over time. Hence the need for skillful, robust and forward-looking finance, offering insurance and purchase options on future assets and profits. It is therefore no coincidence that most financial empires developed in symbiosis with maritime empires, notably the Dutch and British, and with the West and East India Companies.

At the end of the 15th century, it was essentially Genoa and Venice that were fighting for control of the seas. On the one hand, Venice, historically the bridgehead of the Byzantine Empire and its capital Constantinople (Istanbul), was by far the largest city in the Mediterranean world in 1500 with 200,000 inhabitants. Since its heyday in the 13th century, the Serenissima has defended tooth and nail its status as a key intermediary on the Silk Road to the West. On the other hand, Genoa, which, after having established itself in the Levant thanks to the crusades, by taking control of Portugal, financed all the Portuguese colonial expeditions to West Africa from where it brought back gold and slaves.

Two maritime achievements will exacerbate this rivalry a little more:

  • 1488. Although the works of the Persian scholar Al Biruni (11th century) and old maps, including that of the Venetion monk Fra Mauro, made it possible to foresee the bypassing of the African continent by the Atlantic Ocean to reach India, it was not until 1488 that Portuguese sailors passed the Cape of Good Hope. Thus, Genoa, without any intermediary, could directly load its ships in Asia and bring its goods back to Europe;
  • 1492. Seeking to open a direct trade route to Asia without having to deal with the Venetians or the Portuguese (Genoese), Spain sent the Genoese navigator Christopher Columbus west in 1492. More than a new route to Asia, Columbus discovered a new continent that would be the object of covetousness.
The imperial sharing of the entire world among the Spanish (Venice) and the Portuguese (Genoa),
as signed on by Pope Alexander VI Borgia with the treaty of Tordesillas in 1494

Two years later, on June 7, 1494, the Portuguese and Spanish signed the Treaty of Tordesillas to divide the entire world between them. Basically, all of the New World for Spain, all of the old one (from the Azores to Macao) for Portugal. To delimit their empires, they drew an imaginary line, which Pope Alexander VI Borgia set in 1493 at 100 leagues west of the Azores and the Cape Verde Islands.

Later, the line was extended, at the request of the Portuguese, to 370 leagues. Any land discovered to the east of this line was to belong to Portugal; to the west, to Spain. At the same time, any other Western maritime power was denied access to the new continent. However, in 1500, to the horror of the Spaniards, it was a Portuguese who discovered Brazil. And given its geographical position, to the west of the famous line, this country fell under the control of the Portuguese Empire!

Julius II, a child of Liguria (region of Genoa, therefore linked to Portugal) and vomiting Alexander VI Borgia (Spanish), in 1506, takes great pleasure in confirming, by the bull Inter Cætera, the treaty of Tordesillas of 1494 allowing to fix the dioceses of the New World, obviously to the advantage of the Portuguese and therefore to his own.

The ultimate weapon, culture

On the « spiritual » and « cultural » level, if Julius II spent most of his time at war, posterity retains essentially the image of « one of the great popes of the Renaissance » as a great protector and patron of the arts.

Indeed, to re-establish the prestige (the French word for soft power) and therefore the authority of Rome and its Empire, culture was considered a weapon as formidable as the sword. To begin with, Julius II opened new arteries in Rome, including the Via Giulia. He placed in the Belvedere courtyard the antiques he had acquired, in particular, the « Apollo of Belvedere » and the « Laocoon », discovered in 1506 in the ruins of Nero’s Imperial Palace.

Portrait of Julius II by Raphael, and his tomb by Michelangelo.

In the same year, that is to say six years before the end of the military operations, Julius II also launched great projects, some of which were only partially or entirely completed after his death:

  • The reconstruction of St. Peter’s Basilica, a task entrusted to the architect and painter Donato Bramante (1444-1514) ;
  • The tomb of Julius II, which the sculptor Michelangelo was entrusted with in the apse of the new basilica and of which his famous statue of Moses, one of the 48 bronze statues and bas-reliefs originally planned, should have been part;
  • The decoration of the vault of the Sistine Chapel built by Pope Sixtus IV, the uncle of Julius II, was also entrusted to Michelangelo. Julius II let himself be carried away by the creative spirit of the sculptor. Together, they worked on ever more grandiose projects for the decoration of the Chapel. The artist gave free rein to his imagination, in a different artistic genre that did not please the pope. Until October 31, 1512, Michelangelo painted more than 300 figures on the vault;
  • The frescoes decorating the personal library of the pope will be entrusted to the painter Raphael, called to Rome in 1508, probably at the suggestion of Chigi, Aretino or Bramante. The Stanza was the place where the pope signed his briefs and bulls. This room later became the private library of the pontiff Julius II, then the room of the Tribunal of Apostolic Signatures of Grace and Justice and later, that of the Supreme instance of appeal and cassation. Before the arrival of Julius II, this room and « the room of Heliodorus », were covered with frescoes by Piero della Francesca (1417-1492), a painter protected by the great Renaissance genius cardinal philosopher Nicolaus of Cusa (1401-1464), immortalizing the great ecumenical council of Florence (1438). Decorations by Lucas Signorelli and Sodoma were added later. Following his election, Julius II, anxious to mark his presence in history, and to re-establish the authority of the oligarchy and the Church, had the frescoes of the Council of Florence covered with new ones. Convinced by his advisors, the pope agreed to entrust the direction of the work to Raphael. Officially, it is said that Raphael spared some of the frescoes on the ceiling, notably those executed by Sodoma, so as not to antagonize him entirely. But, as we have said, the content, the very elaborate theme and part of the iconography of the frescoes were decided upon as early as 1506, even before Raphael’s arrival in 1508;
  • To modernize the city of Rome. Julius II, undoubtedly advised by the architect Bramante, singularly transformed the road system of Rome. In order for all the roads to converge towards St. Peter’s Basilica, he ordered the Via Giulia to be pierced on the left bank and the Lungara, the paths that meandered along the river on the right bank, to be transformed into a real street. His death interrupted the great works he had planned, in particular the construction of a monumental avenue leading to St. Peter’s and that of a new bridge to relieve the congestion of the bridge over St. Angelo, to which he had also facilitated access by widening the street leading to it. The extent of the work undertaken poses the problem of materials; although it was, in principle, forbidden to attack the ancient monuments, the reality was quite different. Ruinante, became the nickname of Bramante.
Drawing of the entrance door to the Vatican, circa 1530.

These major construction projects, patronage and military expenses drained the Holy See’s revenues. To remedy this, Julius II multiplied the sale of ecclesiastical benefits, dispensations and indulgences.

In the twelfth century, the Roman Catholic Church established the rules for the trade of « indulgences » (from the Latin indulgere, to grant) through papal decrees. They provided a framework for the total or partial remission before God of a sin, notably by promising, in exchange for a given amount of money, a reduction in the time spent in purgatory to the generous faithful after their death. In the course of time, this practice, essentially exploiting a form of religious superstition, turned into a business so lucrative that the Church could no longer do without it.

In northern Europe, particularly in Germany, the Fugger bankers of Augsburg were directly involved in organizing this trade. This practice was strongly denounced and fought against by the humanists, in particular by Erasmus, before Luther made it an essential part of the famous 95 theses that he posted, in 1517, on the doors of the church in Wittenberg.

In his book Erasmus and Italy, french historain Augustin Renaudet writes that Erasmus, after having met the highest authorities of the Vatican, was not fooled:

He was not long in understanding that apart from the Holy See, the services of the Curia and the Chancellery, apart from the cardinals, the innumerable prelates on mission and in charge, apart from a motley crowd of civil servants and scribes, who populated the administrative or financial offices and the courts, there was nothing in Rome. In all the cities he had known, in Brussels, in Paris, in London, in Milan, in Florence, and recently in Venice, an active economy, fed by industry, commerce, and finance, supported a strong urban bourgeoisie, or as in Venice, an aristocracy of shipowners. In Rome, all the economy, all the trade, all the finance, were in the hands of foreigners: Florentine or Genoese merchants, Florentine or Genoese bankers. These foreigners held in their dependence a people of small merchants, of small craftsmen who sold in the back room, of money changers and Jewish traffickers. Very little industry, the Roman population lived at the service of the Curia, the prelates and the convents. Erasmus marveled at the pride with which the descendants of the people-king pretended to maintain their ancient majesty.
The word of the Roman people was no longer an empty word; Erasmus was to write one day that, in the modern world, a Roman citizen counted less than a burgher of Basel.

Historians André Chastel and Robert Klein, in L’Humanisme, l’Europe de la Renaissance, share this observation:

Another trend, favorable to Caesar and Augustus, had emerged: Rome becoming again more and more the ‘imperial’ capital of all the powerful borrowed or sought to borrow a style from it.

This new style associates besides more and more arma and litterae, the sword and the book.

(…) Rich or poor, any sovereign of the Renaissance will occupy the artists and the scholars insofar as he needs prestige: the greatest patrons of the Renaissance were the ambitious and the warriors, Maximilian, Julius II, Henry VIII, François I, Charles V.

Raphael’s « impresarios »

If, from a contemporary point of view, it seems close to unthinkable for an artist to be « dictated » the theme of his work, this was not the case at the time of the Renaissance and even less so in the Middle Ages. For example, although he was a high-level diplomat of the Duke of Burgundy Philip the Good, the Flemish painter Jan Van Eyck (, one of the first painters to sign his works with his name, was advised on theology by the Duke’s confessor, the erudite Dionysus the Cartusian (1401-1471), a close friend of Cardinal Nicolaus of Cusa. And no one will dare say that Van Eyck « did not paint » his masterpiece The Mystic Lamb.

Raphael’s position was more delicate. In his time, painters still had the status of craftsmen. Including Leonardo da Vinci, who was known for his superior intelligence, declared himself to be a « man without letters », that is to say, unable to read Latin or Greek. Raphael could read and write Italian, but was in the same condition. And when, towards the end of his short life, he was asked to work on architecture (St. Peter’s Basilica) and urban planning (Roman antiquities), he asked a friend to translate the Ten Books of the Roman architect Vitruvius into Italian. Now, any visitor to the « Chambers of the Signature » is immediately struck by the great harmony uniting several dozen philosophers, jurists, poets and theologians whose existence was virtually unknown to Raphael before his arrival in Rome in 1508.

In The Marriage of the Virgin, Perugino (left) starts with a geometric harmony between a rectangle, an isosceles triangle and a circle whose center serves as the vanishing point of the perspective. His pupil Raphael took up the process, but starting from the square.

Moreover, with the exception of The Marriage of the Virgin, painted in 1504 at the age of 21, based on the way his master Pietro di Cristoforo Vannucci, known as Pietro Perugino (c. 1448-1523) had treated the same subject, Raphael had not yet had to meet the kind of challenge that the Stanza would pose to him.

As we have already said, the cartoons and other preparatory drawings, sometimes quite different from the final result, also suggest that, following the « commission, » discussions with one or more impresarios led the artist to modify, improve or change the iconography to arrive at the final result.

As for the theme, as we have already mentioned, the ideas and concepts seem to have emerged during a long period of maturation and were undoubtedly the result of multiple exchanges between Pope Julius II and several of his advisors, librarians, and « orators » of the papal court.

According to historian Ingrid D. Rowlands, the archival documents unquestionably indicate the decisive contribution of three very different personalities of the time:

  • Battista Casali ;
  • Giles of Viterbo;
  • Tommaso « Fedra » Inghirami.

The thorough investigation of the historian Christiane L. Joost-Gaugier has established the predominant role of Inghirami. He was the only one in a position, and in a position, as the pope’s chief librarian, to set the program of the rooms. Raphael, will be his enthusiastic collaborator and will undoubtedly end up being « recruited » to the orientations and vision of his commissionners. This is evidenced by the fact that he demanded to be buried in the Roman Pantheon, considered the most Pythagorean, and believed to be the most neo-Platonic, temple of the Roman era.

Battista Casali

As documented by the Jesuit historian John William O’Malley, it was on January 1, 1508, the year of his appointment to St. John Lateran, a few months before Raphael’s arrival in Rome, that Battista Casali (1473-1525), a professor at the University of Rome, evoked the image of The School of Athens in an oration delivered in the Sistine Chapel in the presence of Julius II:

One day (… ) the beauty of Athens inspired a contest between the gods, where humanity, learning, religion, primacies, jurisprudence and law came into being before being distributed in every country, where the Athenaeum and so many other gymnasiums were founded, where so many princes of knowledge trained their youth and taught them virtue, fortitude, temperance and justice – all of this destroyed in the whirlwind of the Mohaematan war machine… ) However, just as [your illustrious uncle Pope] Sixtus IV [who ordered the construction of the Sistine Chapel], in a way, laid the foundations of education, you laid the cornice. Here is the Vatican library which he erected as if it had come from Athens itself, gathering the books he was able to save from the wreckage, and created in the image of the Academy. You, now, Julius II, supreme pontiff, have founded a new Athens when you invoke the downtrodden world of letters as if it were rising from the dead, and order it, surrounded by threats of suspended work, that Athens, its stadiums, its theaters and its Athenaeums, be restored.

Giles of Viterbo

Giles of Viterbo.

Another major influence on the theme, Giles of Viterbo (1469-1532) of which we will say more below.

  • An outstanding orator, he was called to Rome in 1497 by Pope Alexander VI Borgia ;
  • In 1503, he became the Superior General of the Order of Hermits of Saint Augustine; with 8000 members, it was the most powerful order of its time;
  • He is known for the boldness and seriousness of the speech he gave at the opening of the Fifth Lateran Council in 1512;
  • He severely criticized the bellicose policy of Julius II and urged him to triumph by culture rather than by the sword;
  • After the death of the latter, he became the preacher and theologian of Pope Leo X who appointed him cardinal in 1517.

Tommaso Inghirami

Tommaso Inghirami, Pope Julius II‘s chief librarian and Raphael’s true impresario for the frescoes decorating the Signing Room. Here is his portrait, painted by Raphael in 1510..

Finally, the prelate Tommaso Inghirami (1470-1516), who spoke both Latin and Greek, was also a formidable orator. The man owed his fortune to Lorenzo the Magnificent (1449-1492).

Educated by the Neoplatonic philosopher Marsilio Ficino, Lorenzo the Magnificent was the patron of both Botticelli and Michelangelo who lived with him for three years.

Born in Volterra, Inghirami was also taken in by the Magnificent after the sacking of that city. He carefully supervised his studies and later sent him to Rome where Alexander VI Borgia welcomed him. Inghirami was a handsome and well-dressed man.

At 16, Inghirami earned the nickname « Phaedra » after brilliantly playing the role of the queen who commits suicide in a Seneca tragedy performed in a small circle at the residence of the influential Cardinal Raphael Riario, cousin of Julius II or nephew of Pope Sixtus IV and therefore cousin of Julius II. Thereafter, Phaedra, bon vivant and for whom the celestial and terrestrial pleasures were happily completed, gained in political and especially… physical weight.

  • In 1475, he accompanied the nuncio of Pope Alexander VI to the court of Emperor Maximilian I of the Holy Roman Empire, who named him Count Palatine and poet laureate;
  • On January 16, 1498, Inghirami delivered an oration in the Spanish Church of Rome in honor of the Infant Don Juan, the murdered son of the King of Spain. Inghirami, in the name of Alexander VI Borgia, fully endorsed the Spanish policy of the time: to extend Christianity as well as imperial looting into the New World, to drive the Moors out of Europe and to strengthen the colonial plunder of Africa. If Julius II hated Alexander VI, he will continue this policy;
  • In 1508, Julius II nominates Inghirami to head the Library of the Vatican to be installed in the Stanza;
  • In 1509, while he was heavily involved in the realization of the frescoes of the Stanza, Raphael made his portrait. Raphael shows us a man suffering from divergent strabismus who seems to turn his gaze towards the sky in order to signify where this « humanist » drew his inspiration from;
  • In 1510, the Pope appointed him Bishop of Ragusa;
  • Finally, in 1513, he became papal secretary and at the urgent request of the dying pope, Inghirami delivered his funeral oration: « Good God! What a mind this man had, what sense, what ability to manage and administer the Empire! What a supreme and unshakable strength! »

Inghirami soon served as secretary to the conclave electing Pope Leo X (John of Medici, second son of Lorenzo de Medici, also a great protector of neo-Platonists and « culture »), another pope whose portrait Raphael will paint.

In 1509, eager to reform the Catholic church on the basis of the study of the three languages (Latin-Greek-Hebrew) to settle the religious conflicts which were looming and announced the religious wars to come, Erasmus of Rotterdam meets Inghirami in Rome. The latter exposes to him the imposing cultural building sites which he directed. Erasmus does not say a word about it.

However, a long time after the death of Inghirami, Erasmus complained that the Vatican and the oligarchy recruited among the humanists. He notably fingerpointed the sect of “the Ciceronians”, omnipresent in the Roman Curia and of which Inghirami was one of the leaders.

Thus, in 1528, in a pamphlet titled The Ciceronians, Erasmus quoted Inghirami’s oration on Good Friday of 1509. He denounced the fact that the members of this sect, on the grounds of the elegance of the Latin language, only used Latin words that appeared as they were in the works of Cicero! As a result, all the new language of evangelical Christianity, enshrined in the Council of Florence, which Erasmus wished to promote, was either banned or « re-translated » into pagan terms and words of the Roman era! For example, in his sermon, Inghirami had presented Christ on the cross as a pagan god sacrificing himself heroically rather than as a redeemer.

Finally, shortly after Raphael’s death, Cardinal Jacopo Sadoleto (1477-1547) wrote a treatise on philosophy in which Inghirami (meanwhile tragically deceased) defended rhetoric and denied the value of philosophy, his main argument being that everything written was already contained in the mystical and mythological texts of Orpheus and his followers…

Plato and Aristotle, the impossible synthesis

The Triumph of Saint Thomas of Aquinas (detail), here reconciling Aristotle (left) and Plato (right). Painting by Benozzo Gozzoli, Louvre, Paris.

Now, in order to be able to « read » the theme deployed by Raphael in the « Chamber of the Signature, » let us examine this Florentine « neo-Platonism » that animated both Giles of Viterbo and Tommaso Inghirami.

The approach of these two orators consisted above all in putting their « neo-Platonism » and their imagination at the service of a cause: that of asserting with force that Julius II, the pontifex maximus at the head of a triumphant Church, embodied the ultimate outcome of a vast line of philosophers, theologians, poets and humanists. At the origin of a civilizational and theological « big bang » presumed to lead to the immeasurable lustre of the Catholic Church under Julius II, not only Plato and Aristotle themselves, but those who had preceded them including Apollo, Moses and especially Pythagoras.

From 1506 onwards, Giles de Viterbo, in an exercise that can be described as « beyond” impossible, wrote a text entitled Sententia ad mentem Platonis (« Sentences with the mind of Plato »). In it, he tried to combine into one ideology the Sentences of Peter Lombard (1096-1160), the scholastic text par excellence of the 13th century and the starting point for the commentaries of the Dominican Saint Thomas Aquinas (1225-1274) for his Summa Theologica, and the esoteric Florentine neo-Platonism of Marsilio Ficino (1433-1499) * of whom Giles de Viterbe was a follower.

All this could only please a pope who, in order to establish his authority on earthly and spiritual matters, warmly welcomed this agreement between Faith and Reason defended by Thomas Aquinas who says that “the Truth being one”, reason’s only role is to confirm faith’s superiority.

The very idea to present the wedding of Aristotelian scholasticism (logic presented as « reason ») with Florentine neo-Platonism (Plotinus’ emanationism dressed as « faith ») as a source of poetry and justice as « The Signing Room » does, comes from this.

Let us recall that in the middle of the 13th century, two mendicant Orders, the Franciscans and the Dominicans, were contesting the drift of a Church that had become, above all, the simple manager of its earthly possessions. The one who would later be called St. Thomas Aquinas, opposed on this point (his competitor) St. Bonaventure (1221-1274), founding figure of the Franciscan Order.

For his part, Aquinas relies on Aristotle, whom Albert the Great (1200-1280), whose disciple he was in Cologne, had made known to him, to establish the primacy of « reason ». For the man who was nicknamed « the dumb ox », faith and human reason, each managing their own domain, had to move forward together, hand in hand while of course, the Church had the last word.

The Triumph of Saint Thomas of Aquinas, ca. 1470, painting by Benozzo Gozzoli, Louvre, Paris.

Several paintings (the great fresco of 1366 in the Spanish chapel of Santa Maria Novella in Florence; the painting by Filippino Lippi of 1488 in the Carafa chapel in Rome; or the painting by Benozzo Gozzoli (1421-1497), painted around 1470, in the Louvre in Paris), have immortalized the “Triumph of Thomas Aquinas”.

Gozzoli’s painting in the Louvre is of particular importance because several elements prefigure the iconography of the Signing Chamber, notably the three levels found in Theology (Trinity, Evangelists and religious leaders) as well as the couple Plato and Aristotle found in Philosophy.

In Gozzoli’s painting, we see Aquinas, standing between Plato and Aristotle, throwing down before him the Arab philosopher Averroes (1126-1198) (Ibn-Rushd of Cordoba) expelled for having denied the immortality and the thought of the individual soul, in favor of a « Single Intellect » for all men that activates in us the intelligible ideas.

In the West, before the arrival of Greek delegations in Italy to attend the Council of Ferrara-Florence in 1438, if several works of Plato, including the Timaeus, were known to a handful of scholars, such as those of the School of Chartres or Italians as Leonardo Bruni in Florence, most of the West’s knowledge of Greek thought came down to the works of Aristotle.

For the Aristotelians, who became dominant in the Catholic Church with Aquinas, Plato had to be considered as incompatible with Christianity.

On the other hand, for the Platonists, including Augustine, Jerome and especially Nicholas of Cusa and Erasmus, who honored and adorned him that Erasmus called « Saint Socrates », Plato was to be venerated by Christians: he was monotheistic, believed in the immortality of the soul and venerated, in the form of the Pythagorean triad, the mystery of the Trinity.

John Bessarion, by Justius of Ghent, Louvre, Paris.

In the 15th century, for lack of epistemological clarity and some confusion on the authorship of certain manuscripts, some humanists, in particular Nicolaus of Cusa‘s friend and close collaborator Cardinal John Bessarion (1403-1472), one of the key organizers of the reunification of the Eastern and Western Churches, presented Plato as the « equal » of Aristotle, the latter’s disciple, with the sole purpose of making Plato « as acceptable as possible » to the Catholic Church.

Hence Bessarion‘s now famous phrase « Colo et veneror Aristotelem, amo Platonem » (I cultivate and venerate Aristotle, I love Plato) which appears in his In Calumniatorem Platonis (republished in 1503), a rejoinder to the virulent charge against Plato elaborated by the Greek Georges Trébizond.

Thus, in the School of Athens painted by Raphael, Plato and Aristotle appear side by side, not confronting each other but complementing the other with their respective wisdom : the first holding his book the Timaeus (on the creation of the universe) in one hand, and with the other, pointing to the sky (To the One, to God), the second holding his Ethics (the science of the good in personal life) in one hand, and raising the other arm horizontally to indicate the earthly realm (Physics).

If the commissioners had wanted to underscore the opposition of both philosophers, Plato would have rather been portrayed with his Parmenides (On Ideas) and Aristotle with his Physics (On natural sciences). That is clearly not the case.

Giles de Viterbo in his Sententia ad mentem Platonis will mobilize extreme sophism to erase the irreconcilable and very real oppositions (see box below) between the Platonic thought and that of Aristotle.


Why Plato and Aristotle are not complementary

By Christine Bierre

Logic (Aristotle) versus Dialectic (Plato). Bas-relief by Luca della Robbia.

The fundamental concepts that gave birth to our European civilization can be traced back to classical Greece, and through it, to Egypt and other even more ancient civilizations.

Among the Greek thinkers, Plato (-428/-347 B.C.) and Aristotle (-385/-323 B.C.) asked all the great questions that interest our humanity: who are we, what are our characteristics, how do we live, where are we situated in the universe, how can we know it?

The accounts that have come down to us from this distant period speak of the disagreements that led Aristotle to leave Plato’s Academy, of which he had been a disciple. History then bears witness to the violence of the oppositions between the disciples of the one and the other. During the Renaissance, the most reactionary Catholic currents, the Council of Trent in particular, were inspired by Aristotle, whereas Plato reigned supreme in the camp of humanism, in the hands of some of the greatest, such as Erasmus and Rabelais.

There were various attempts, however, to make them complementary, as discussed in this article by Karel Vereycken. If Plato represents the world of Ideas, Aristotle represents the world of matter. Impossible to build a world without both, we are told. It seems so obvious!

The Greek philosopher, Plato.

Bust of Plato.

All this starts, however, from a false idea opposing these two characters. For Plato, we are told, reality is found in the existence of ideas, universal concepts which represent, in an abstract way, all the things which participate of this concept. For example, the general concept of man contains the concept of particular men such as Peter, Paul and Mary; similarly for good, which includes all good things whatever they are. For Aristotle, on the contrary, reality is located in matter, as such.

What is false in this reasoning is the concept that the Platonic Ideas are abstractions. The Platonic Ideas are, on the contrary, dynamic entities that generate and transform reality. In the myth of the cave in The Republic, Socrates says that at the origin of things is the sovereign Good. In The Phaedo, he explains that it is through « Ideas » that this sovereign Good has generated the world.

In the myth of the cave, Socrates uses an offspring of the idea of the good, the Sun, to help us understand what the sovereign Good is. The Good, he says, has generated the Sun, which is, in the visible world, in relation to sight and objects of sight, what the Good is in the intelligible world in relation to intelligence and intelligible objects. The prisoners in the cave saw only the shadows of reality, and then, on coming out, they saw, thanks to the Sun, the real objects, the firmament and the Sun. After this, they will come to the conclusion about the Sun, that it is he who produces the seasons and the years, that he governs everything in the visible world and that he is in some way the cause of all those things that he and his companions saw in the cave.

The Sun not only gives objects the ability to be seen, but is also the cause of their genesis and development. In the same way for the knowable objects, they hold from the Good the faculty to be known but, in addition, they owe him their existence and their essence. The idea of the Good is thus for Plato the dynamic cause of the things: material and immaterial and not dead universals.

Aristotle’s splintered « One »

Bust of Aristotle.

For Aristotle, as for all the empiricist current which followed him, reality is situated at the level of the objects knowable by the senses. Nature sends us its signals that we decode with our mental faculties. Ideas are only abstractions of the sensible universe which constitutes reality. For him the universals have no real existence: man « in general », does not generate anything. It is only an abstraction of all the men in particular. The particular man is generated by the particular man; Peter is generated by Paul.

It is also said of Aristotle that he « exploded » Plato’s One. There are two ways of conceiving the One. One can think of it either as an absolute One (God or first cause), depending on whether one is a religious person or a philosopher, a purely intelligible principle but a dynamic cause that has generated all things; or one can think of it as the number « one » that determines each particular thing: the number one when we say: a man, a chair, an apple.

Aristotle‘s One simply becomes a particular unity, characteristic of all things that participate in unity. It is not the cause of what « is » but only the predicate of all the elements that are found in all the categories. The Being and the One, he will say, are the most universal of predicates. The One, he will say again, represents a definite nature in each kind but never the nature of the One will be the One in itself. And the Ideas are not the cause of change.

What is the point of all this?

Does this discussion make more sense than all the never-ending debates about the sexes of angels that gave scholasticism such a bad name in the Middle Ages? The One or the many, what does it matter in our daily lives?

This point is however essential. The fact of being able to go back to the intelligible causes of all that exists, puts the human species in a privileged situation in the universe. Unlike other species, it can not only understand the laws of the universe, but also be inspired by them, in order to improve human society. This is why, in history, it is the « Platonic » current that was at the origin of the great scientific, technological and cultural breakthroughs in astronomy, geometry, mechanics, architecture, but also the discovery of proportions that allow the expression of beauty in music, painting, poetry and dance.

As for Aristotle, it must be said that his conceptions of man and knowledge only led him to establish categories defining a dozen possible states of being. Aristotle was also the founder of formal logic, a system of thought that does not claim to know the truth, but only to define the rules of a correct reasoning. Logic is so little interested in the search for truth that one can consider that a judgment that is totally false in relation to reality can be said to be right if all the rules of « good reasoning » of logic have been used.

Woman riding Aristotle. Humanists have long since put their finger on a domain that totally escaped Aristotle‘s logical thinking: desire… A 13th century fable summarizes the story. Aristotle, whose pupil was Alexander the Great, reproached the latter for letting himself be distracted from his royal duties by the courtesan Phyllis, with whom he was madly in love. Obedient, the brave king of Macedonia thus ceases to frequent the damsel and returns to treat the business of the State. Learning the reasons of its abandonment, the lady decides to be avenged of the old philosopher and tries to seduce him by strutting under his windows in light dress. Aristotle falls under her charm ! Phyllis then announces to the wise man that if he wants to possess her, he will have to give himself up to a small caprice and, saddled and bridled, to let himself be ridden by the beautiful. The eminent bearded man accepts this game without suspecting the trick that is being played on him. In saddle and go ! here is Phyllis who rides Aristotle‘s back in the gardens of the king, whipping him to make him advanc

Suite

To begin with, Giles de Viterbo underlines that Aristotle is a « pupil » of Plato and that the « two princes of philosophy » could be reconciled. Very much imbued with the neo-Pythagorean spirit, and for whom Plato was only one of the greatest disciples of Pythagoras, the author argues that both philosophers agree that, contrary to the pagan pantheon, the « One » is the ultimate expression of the divine. Clearly, they were both monotheists and thus their convictions anticipated those of Christianity.

Giles of Viterbo:

Philosophy, which traces and examines all things, judges that all number and multiplicity are absent from God, as Plato and his pupil Aristotle say. Humanity has as its goal the understanding of divine things, as even Aristotle admits in his Ethics.
Thus, if it is necessary to pursue this goal, it is necessary to arrive at the understanding of God.

And he continues:

Now these princes of Philosophy [Plato and Aristotle] can be reconciled, and no matter how much they disagree about creation, the Ideas, or the goal of the Good, these points [of agreement] can be identified and demonstrated (…) [Then], they appear not to disagree with each other at all (…) These great princes can be reconciled if we postulate the double nature of things, one which is free from matter and the other which is within matter (…) Plato follows the first, Aristotle the second, and because of this, these two great leaders of philosophy hardly differ from each other. If you think that we are making this up, listen to them yourselves. For if we speak of humanity, after all the subject of our conversation, then Plato says the same thing, he says humanity is the soul, in the (First) Alcibiades; and in the Timaeus, he says that humanity has two natures, and we know one of these natures by means of the senses, and the other by means of reason. Also, in the same book, he teaches us that each part in us does not exist in isolation from the other, that each nature is concerned with the other nature. Aristotle, in the tenth book of his Ethics, calls humanity Understanding. So you can know that each philosopher (Plato and Aristotle) feels the same way, no matter how much it seems to you that they are not saying the same thing.

Pico della Mirandola the Neo-Platonist

Medal with the effigy of Pico della Mirandola. On the reverse, a deviation from the Platonic theme of the Three Graces (Beauty, Love, Pleasure), an image taken identically from a Roman fresco in Pompeii, which Raphael would in turn take up in his work on the same subject.

Giles of Viterbo, like Tommaso Ingharimi, seems to have taken up the gauntlet thrown to them by John Pico della Mirandola (1463-1494), the young disciple of Ficino.

A precocious scholar, a protégé of Lorenzo de’ Medici (like Inghirami), this man of omniscience was fearless. Thus, in 1485, at the age of 23, he announced his project to gather, at his own expense, in the eternal city and capital of Christianity, the greatest scholars of the world to debate the mysteries of theology, philosophy and foreign doctrines. The objective was to go back from scholasticism to Zoroaster, passing by the Arabs, the Kabbalah, Aristotle and Plato, to expose to the eyes of all, the concordance of wisdom. The affair failed. His initiative, which reserved an important place for magic, could only arouse distrust. For the Vatican, all this could only smell of sulfur, and the initiative was discarded at the time.

However, it will mark the minds of a generation. For his Oratio de hominis dignitate, his inaugural speech written in an elegant and almost Ciceronian style, intended for the presentation of his nine hundred theses, published together after his death, was a great success, especially among young scholars like… Inghirami.

Pico’s achievement, which was not well received by the authorities, was to give humanistic studies (studia humanitatis) a new purpose: to seek the concordance of doctrines and define the dignity of the human being. The aim was, by bringing out what unites them despite their differences, to discover their common ground and, by a coincidence of opposites, to have them meet in a unity that transcends them.

Pico della Mirandola:

That is why, not content with having added to the common doctrines a quantity of remarks on the primitive theology of Mercury Trismegistus, on the teachings of the Chaldeans and Pythagoras, on the most secret mysteries of the Jews, we have also proposed for discussion a certain number of discoveries and conceptions of our own in the physical and theological fields. First of all, we have argued that Plato and Aristotle agree: many have thought so before us, no one has proved it sufficiently. Among the Latins, Boethius had promised himself to do so, but there is no indication that he ever realized what was always his project. Among the Greeks, Simplicius had given himself the same program: heaven forbid that he should have lived up to his intentions! Augustine himself, in his work Against the Academicians, writes that many authors have conceived, with great finesse in argumentation, the project of establishing this same point, namely that the philosophies of Plato and Aristotle are one. Thus John the Grammarian [The Hellenist John Lascarus] affirms well that only those who do not hear the words of Plato believe him to be in disagreement with Aristotle, but it is to his successors that he left the care of the demonstration. We have also added various developments where the concordance between the opinions – reputedly discordant – of Scotus and Thomas on the one hand, of Averroes and Avicenna on the other hand, is affirmed. Secondly, our considerations on Aristotelian and Platonic philosophy have been enriched by seventy-two new physical and metaphysical propositions: by making them one’s own, if I am not mistaken (and I will soon be sure of this), one will be able to solve any problem of a natural or theological nature, according to a philosophical method which is quite different from the one taught orally in schools and which is in honor among the doctors of our time.

In a manuscript found unfinished at the time of his death in 1494 and entitled Concordia Platonis et Aristotelis, Pico della Mirandola explicitly mentions Plato’s Timaeus and Aristotle‘s Ethics, precisely the two books that appear as attributes of their authors in Raphael’s fresco.

Then, in his Heptaplus, a work he completed in 1489, Pico della Mirandola asserted that the writings of Moses and the Mosaic Law, according to him the foundation of all wisdom, were the basis of Greek civilization before becoming that of the Church of Rome. The Timaeus, the major work of Plato, says Pico, demonstrates that its author was an “attic Moses” (from Athens).

Cicero the Neo-platonist

For Inghirami, fascinated by the eloquence and the style of Cicero (-106/-43 BC) of whom he believed himself the reincarnation, the challenge launched by Pico della Mirandola to reconcile Apollo, Pythagoras, Plato and Aristotle, appeared almost as a divine test and the frescoes of Raphael decorating the Stanza will be above all his answer.

In addition, Cicero himself claimed to be a neo-Platonist. In the first volume of his work, the Academica, after condemning Socrates for continually asking questions without ever « laying the foundations of a system of thought », Cicero asserts, several centuries before Pico della Mirandola, that the ideas of Plato and Aristotle, in essence, « had the same principles »:

In the shadow of Plato’s genius, a fertile, varied, universal genius, a unique philosophy was established under the double banner of the academicians and the peripatetics, who, agreeing on things, differed only on the terms. For Plato, who had made Speusippus, son of his sister, the heir of his philosophy, also left two disciples of great talent and rare science, Xenocrates of Chalcedony and Aristotle of Stagire: those who followed Aristotle, were named peripatetics, because they discussed while walking in the Lyceum; whereas those who, according to the institution of Plato, held their assemblies and disserted in the Academy, the other gymnasium of Athens, received from this place the name of Academicians. But both of them, all penetrated by Plato’s fertile genius, formulated philosophy into a certain complete and finished system, and abandoned the universal doubt of Socrates, and his habit of discussing everything without affirming anything. There was then what Socrates entirely disapproved of, a philosophical science, with regular divisions and a whole methodical apparatus. This philosophy, as I have said, under a double name, was one; for between the doctrine of the peripatetic [Aristotle] and the ancient Academy [Plato] there was no difference. Aristotle prevailed, in my opinion, by the richness of his genius; but the one and the other had the same principles, and judged the goods and the evils in the same way.

Royal Portal of Chartres. In the center, Pythagoras with above him the Quadrivium (the sciences: arithmetic, geometry, astronomy and music). To his right, a disciple, with above him the Trivium (the humanities: grammar, rhetoric and logic).

Inghirami was also strengthened by the reading of countless Christian authors in this sense, such as the Frenchman, Bernard of Chartres (12th century), a Neoplatonist philosopher who played a fundamental role in the Chartres school, which he founded. He was appointed master (1112) and then became chancellor (1119) responsible for the teaching of the cathedral school.

You wonder the sculptures of Pythagoras and Aristotle appear side by side on the western portal of the cathedral?

Historian Etienne Gilson writes:

Bernard of Chartres was first of all influenced by Boethius, whose Platonism he adapts. He then set out to reconcile Plato’s thought with that of Aristotle, which made him the greatest Aristotelian and Platonic thinker of the 12th century. John of Salisbury affirmed, in the most formal terms, that Bernard of Chartres and his disciples did not believe that they were simply expounding Plato’s thought by explaining in this way the relation of ideas to things, but that they had the pretension of putting Aristotle in agreement with Plato. That the trouble they took was wasted, is what John of Salisbury clearly states. With a very British humor he notes that these philosophers arrived too late and that they worked uselessly to reconcile dead men who had been arguing all their lives.

Inghirami will have read St. Bonaventure (1217-1274), one of the founders of the Franciscan order, who pointed out that Plato and Aristotle each excelled in their own field:

And so it appears that among philosophers, Plato’s gift is to speak of wisdom, Aristotle‘s of science.

Or the Florentine Marsilio Ficino, this neo-Platonic philosopher of the XVth century whose « Platonic Academy » had put in saddle Pico della Mirandola. Ficino, had he not written in his Platonic Theology that

Plato treats natural things divinely while Aristotle treats even divine things naturally.

In the preface he wrote for The Fable of Orpheus, a play written by his disciple Poliziano (1454-1494), Ficino, referring to Saint Augustine, makes the mythical Hermes Trismegistus (Mercury) the first of the theologians: his teaching would have been transmitted successively to Orpheus, Aglaophemus, Pythagoras, Philolaos and finally Plato.

Thereafter, Ficino will place Zoroaster at the head of these prisci theologi, to finally attribute to Zoroaster and Mercury an identical role in the genesis of the ancient wisdom: Zoroaster teaches this one among the Persians at the same time as Trismegistus taught it among the Egyptians.

Preceding Plato, Pythagoras

The great pre-Socratic thinker, Pythagoras of Samo

In Raphael’s School of Athens, the figure of Pythagoras of Samos (580-495 B.C.), surrounded by a group of admirers, takes a major place. He is clearly identifiable by a tablet on which the musical chords and the famous Tetraktys appear, which we will discuss here.

While historians have so far mainly explored the influence of the Platonic and Neo-Platonic currents on the Italian Renaissance, historian Christiane L. Joost-Gaugier, in her book Pythagoras and Renaissance Europe, has highlighted the extent to which the ideas of the great pre-Socratic thinker Pythagoras influenced the thought and art of the Renaissance.

Geometry (Thales of Miletus?) and Arithmetic (Pythagoras?), bas-relief by Luca della Robbia, Campanile, Florence.

In art, Pythagoras inspired the Roman architect Vitruvius (90-15 BC), and later such theorists of the golden mean such as the Franciscan monk Luca Pacioli (1445-1517), whose treatise, De Divina Proportiona, illustrated by Leonardo da Vinci, appeared in Venice in 1509.

However, if a theorem, probably from India, bears his name (attributed to Pythagoras by Vitruvius), little is known of his life. Just like Confucius, Socrates and Christ, if we are sure that he really existed, no writing from his hand has come down to us.

By necessity, Pythagoras

became a living legend, and even very active during the Renaissance, so much so that most people saw Plato as a mere « disciple » of the « divine Pythagoras ».

Arabic and Chinese texts demonstrating the theorem attributed in the West to Pythagoras.

Born in the first half of the 6th century B.C. on the island of Samos in Asia Minor, Pythagoras was probably in contact with the school of geometer’s founded by Thales of Miletus (-625/-548 B.C.).

Around the age of 40, he left for Crotone in southern Italy to found a society of friends, both philosophical, political and religious, whose chapters were to multiply.

For Pythagoras, the issue is to build a bridge between man and the divine and on this basis to transform society and the city. When asked about his knowledge, Pythagoras, before Socrates and Cusa, asserted that he knew nothing, but that he sherished « the love of wisdom ». The word philo-sophy would have thus been born.

No Christian humanist, reading Saint Jerome (347-420), one of the Fathers of the Catholic Church, could escape the praise that the latter gives to Pythagoras.

In his polemic Apology against the Books of Rufinus, Jerome, in order to evoke an exemplary behavior, quotes what two disciples of Pythagoras would have said:

We must by all possible means avoid softness of the body, ignorance of the spirit, intemperance, civil dissensions, domestic dissensions and in general excess in all things.

And Jerome invokes the « Precepts of Pythagoras » :

Everything must be common among friends; a friend is another ourselves. We must consider two periods in life, the morning and the evening, that is, what we have done and what we must do. After God, we must seek the truth, which alone can bring men closer to the Creator.”

Secondly, Jerome believes that Pythagoras, in affirming the concept of the immortality of the soul, preceded Christianity:

Listen to what Pythagoras was the first to find in Greece, Jerome says: That souls are immortal, that they pass from one body into another, and, it is Virgil himself who tells us in the sixth book of the Aeneid: When they have made a revolution of a thousand years, God calls them in great numbers to the banks of the river Lethe, so that they may undoubtedly see again the heaven they no longer remember; it is then that they begin again to revive a new body, which first was Euphorbus, then Calide, then Hermoticus, then Perhius and finally Pythagoras ; and that after a certain time what has existed begins to be born again, that there is nothing new in the world, that philosophy is a collection of meditations on death, that every day it strives to free the soul from the chains that bind it to the body and to give it back its freedom. Plato communicates many other ideas in his writings, especially in the Phaedo and in the Timaeus.

The hidden geometry of numbers

For Pythagoras « the beginning is half of everything ». According to Theon of Smyrna (v. 70/v. 135), for the philosopher, « numbers are, so to speak, the principle, the source and the root of all things ».

Aristotle, in his Metaphysics reports:

The Pythagoreans first applied themselves to mathematics… Finding that things [including musical sounds] model their nature mainly on the set of numbers and that numbers are the first principles of the whole of nature, the Pythagoreans concluded that the elements of numbers are also the elements of everything that exists, and they made the world a harmony and a number.

And as Cleinias of Tarantum (4th century BC), a Pythagorean friend of Plato, said:

When these things, therefore, are at rest, they give birth to mathematics and geometry, when they are in motion to the harmonica and astronomy.

The idea of the « monad », a dynamic unity participating in the One, perfected several centuries later by the philosopher and scientist Gottfried Wilhelm Leibniz (1646-1716) in his « Monadology« , comes to us from this period. Etymologically meaning « unity » (monas), it is the supreme unity (the One, God, the principle of numbers) which, while being at the same time the minimal unity, reflects in the microcosm the same dynamic activity that the One represents in the macrocosm.

Already, just the name of Apollo (a god considered as « the father » of Pythagoras) means, as Plato, Plutarch and other ancient authors point out: free of all multiplicity (Pollo = multiplicity; a-pollo = non-multiple).

Xenophanes of Colophones (born around 580 BC), asserts the existence of a unique God governing all things by the power of his intelligence. It is about a god not similar to the men, because eternal, incorporeal and spherical.

The triangular numbers: 1, 3, 6 and 10. Note the presence of a hexagon inside the number 10, the famous Tetraktys of Pythagoras.

As much as this conception of a dynamic One has sometimes provoked an explosion of esoteric interpretations, it has stimulated the most creative minds and terrorized the formalists of thought.

When speaking about simple things, arithmetic numbers, Pythagoras uses the terms of one, two, three, four, five, ten…, while to evoke ideal numbers and their power, he speaks about: monad, dyad, triad, tetrad, decad, etc. Thus, by conceiving numbers in a non-linear but figurative way, he offers an arithmetic applicable to astronomy, music and architecture. By arranging these numbers, like marbles, in a particular way, Pythagoras discovered the famous « geometry of numbers ». For example, in the case of triangular numbers, three points form a triangular surface. If we add three points below, we find the number 6, but it is still a triangle. And if we add four more points, we get the number 10, still a triangular number.

The Patriarch of Constantinople Photius (810-893) confirms that :

The Pythagoreans proclaimed that the complete number is ten.
The number ten, is a compound of the first four numbers that we count in their order. That is why they called Tetraktys the whole constituted by this number.

Besides the plane and triangular numbers (1, 3, 6, 10, etc.), Pythagoras explored the square numbers (1, 4, 9, 16, …), rectangular, cubic, pyramidal, star-shaped, etc. In doing so, Aristoxenus said, Pythagoras had « raised arithmetic above the needs of merchants ». This approach, that of seeing harmony above and within the multiple, has inspired many scientists throughout history. One thinks of Mendeleev for the elaboration of his table of elements or of Einstein.

The power of numbers was also well understood by the cardinal-philosopher Nicolaus of Cusa, who evokes Pythagoras in the first chapter of his treatise De Docta Ignorantia (1440), when he states that :

All those who search, judge the uncertain by comparing it to a certain presupposition by a system of proportions. All research is therefore comparative, and uses the means of proportion: if the object of research can be compared to the presupposition by a small proportional reduction, the judgment of apprehension is easy; but if we need many intermediaries, then difficulty and pain arise. This is well known in mathematics: the first propositions are easily brought back to the first principles which are very well known, whereas the following ones, because they need the intermediary of the first ones, have more difficulty. Therefore, all research consists of a comparative proportion, easy or difficult, and this is why the infinite, which escapes, as infinite, from all proportion, is unknown. Now, the proportion which expresses agreement in a thing on the one hand and otherness on the other hand, cannot be understood without the number. This is why the number encloses all that is susceptible of proportions. Therefore, it does not create a proportion in quantity only, but in everything that, in some way, by substance or by accident, can agree and differ. Therefore, Pythagoras strongly believed that everything was constituted and understood by the power of numbers. Now, the precision of combinations in material things and the exact adaptation of the known to the unknown are so far above human reason that Socrates considered that he knew nothing but his ignorance; at the same time as the very wise Solomon affirms that all things are difficult and that language cannot explain them.

The Geometry of numbers,
the secret of mental calculations

Here is a simple example.

One day, in Göttingen, the teacher of the young German mathematician Carl Gauss (1777-1855) asked his students to calculate the sum of all the numbers from one to one hundred. The students did so and began to add the numbers 1 + 2 + 3 + 4 + 5, etc.

The young Gauss raises his hand and, following a mental calculation, announces the result of the operation: « 5050, Sir! »

The teacher, surprised, asks him how he arrived at the result so quickly. The young Gauss explains: to see if there is a geometry in the number 100, I added the first digit (1) with the last (100). This gives 101. Now, if I add the second digit (2) with the second to last one (99), it also makes 101. I concluded that within the number 100 there are fifty pairs of even and odd numbers whose sum is 101 each time. Thus, by multiplying 101 by the number of couples (50), I immediately arrive at 5050.

From Pythagoras to Plato

For Pythagoras, the most perfect surface is the circle and the ideal volume is the sphere since regular polyhedra can be inscribed. According to one of his disciples, the Italian Philolaus of Croton (-470/-390 BC), Pythagoras would have been the first to define the five regular polyhedrons:

  • the cube,
  • the tetrahedron (a pyramid with 4 triangular faces),
  • the octahedron (composed of 8 triangles),
  • the icosahedron (64 triangles) and
  • the dodecahedron (composed of 12 pentagons).

Since Plato describes them in his work, the Timaeus, these regular polyhedra took the name of « Platonic solids ». Let’s recall that Plato went to Italy several times, notably to meet his close friend, the great Pythagorean scientist, astronomer, musical theorist and political leader, Archytas of Tarantum (-428/-387), considered today as « the father of robotics ».

A direct disciple of Philolaos, Archytas became the mathematics teacher of the brilliant Greek astronomer and physician Eudoxus of Cnidus (-408/-355).

A geometrical vision of numbers allows to see how their power increases. For example, by going from the number 3 to the number 4, one goes from the second dimension to the third.

Starting with Archytas, the Pythagoreans associate the 1 to the point, the 2 to the line, the 3 to the surface (the two-dimensional geometrical figure: circle, triangle, square…), the 4 to the solid (the three-dimensional geometrical figure: tetrahedron, cube, sphere, etc.).

Let’s add that in the Timaeus, one of Plato’s last dialogues, after a brief exchange with Socrates, Critias and Hermocrates, the Pythagorean philosopher Timaeus of Locri (5th century BC) exposes a reflection on the origin and the nature of the physical world and of the human soul seen as the works of a demiurge while addressing the questions of scientific knowledge and the place of mathematics in the explanation of the world.

Cicero (Republic, I, X, 16) specifies that Timaeus of Locri was an intimate of Plato:

No doubt you have learned, Tuberon, that after the death of Socrates, Plato went first to Egypt to learn, then to Italy and Sicily, in order to learn all about the discoveries of Pythagoras.
There he lived for a long time in the intimacy of Archytas of Taranto and Timaeus of Locri, and had the chance to obtain the Commentaries of Philolaos.

The music of the spheres

Luca della Robbia: Pythagoras discovering harmony.

A magnificent bas-relief on the campanile of the Florence cathedral reflects what the early Italian humanists knew about Pythagoras.

Luca della Robbia (1399-1482), the sculptor working on the instructions of the humanist chancellor of Florence Leonardo Bruni (1370-1444), shows Pythagoras, a large hammer in one hand, a small hammer in the other, striking an anvil and concentrating his mind on the difference in the sounds he produces.

Pythagoras among the blacksmiths.

According to the legend, Pythagoras was walking near a forge when his attention was caught by the sound of hammers striking the anvil. He discerned in his ear the same consonances as those he could produce with his lyre. His intuition led to a fundamental discovery: musical sounds are governed by numbers.

This is how Guido d’Arezzo (992-1050), the Benedictine monk who created the system of musical notation still in use, relates the event in the last chapter (XX) of his book Micrologus around 1026:

A certain Pythagoras, a great philosopher, was traveling adventurously; he came to a workshop where an anvil was being struck with five hammers. Amazed by the pleasant harmony [concordiam] they produced, our philosopher approached them and, believing at first that the quality of sound and harmony [modulationis] lay in the different hands, he interchanged the hammers. When this was done, each hammer retained its own sound. After having removed one that was dissonant, he weighed the others, and, admirably, by the grace of God, the first weighed twelve, the second nine, the third eight, the fourth six of I don’t know what unit of weight. He thus knew that the science [scientiam] of music resided in the proportion and ratio of numbers [in numerorum proportione et collatione] […] What can we say about the science of music? […] What more can be said? By arranging the notes according to the intervals mentioned above, the illustrious Pythagoras was the first to perfect the monochord. As it is not lasciviousness that one finds there, but a fast revelation of the knowledge of our art, it met a general assent among the scholars. And this art has gradually been affirmed and developed to this day, for the Master himself always illuminates the human darkness and his supreme Wisdom endures for all centuries. Amen.

Here, the diagram (found on a slate placed at the feet of Pythagoras in Raphael’s fresco), which visualizes the musical harmonies obtained by dividing a string. Dividing it in two gives the octave, in three the fifth and in four the fourth. Finally, epogdoon (from the prefix epi- meaning above and ogdoon meaning the eighth) translates the interval of 9/8, which here corresponds to the tone.

IMAGE

The diagram (visible on the slate placed at the feet of Pythagoras in Raphael’s fresco), which visualizes the musical harmonies that are obtained by dividing a string. Dividing it in two gives the octave, in three the fifth and in four the fourth. Finally, epogdoon (from the prefix epi- meaning above and ogdoon meaning the eighth) translates the interval of 9/8, which corresponds here to the tone.

Let’s go back to the harmonic ratios that Pythagoras discovered from the weights of the hammers: 12, 9, 8 and 6.

  • The ratio between 12 and 6 is the half and corresponds to the octave (diapason). It is found on a musical instrument by vibrating half a string;
  • The ratio between 12 and 8 is a ratio of two thirds, which corresponds to the fifth (diapente);
  • The ratio between 8 and 6, is a ratio of three quarters, which corresponds to the fourth (diatessaron);
  • Finally, the ratio between 8 and 9 gives the interval of a tone (epogdoon, the prefix epi- meaning above and ogdoon meaning the eighth).
Illustration from the treatise Theorica musiche (1480, Naples), by the theorist and composer Franchini Gaffurio (1451-1522), a friend and colleague of Leonardo da Vinci at the Sforza court in Milan.

Later, the Pythagoreans transposed the same proportions to other objects, including volumes of water in glasses, the size of bells as well as bronze disks or the length of strings of musical instruments or flutes. For Pythagoras, this experience is fundamental because it corroborates the basic intuition of his philosophy: everything that exists is number, including phenomena as immaterial as musical intervals. In a famous passage of the Timaeus (35-36), Plato describes the fabrication of the proportions of the World Soul by the Demiurge. This passage is based on the numerical series 1, 2, 3, 4, 9, 8, 27, which corresponds to the fusion of the series of the first powers of 2 (2, 4, 8) and the series of the first powers of 3 (3, 9, 27). Now, from this series, we can derive the numerical relationships on which the musical intervals are based.

In his Metaphysics, Aristotle also notes :

The Pythagoreans noticed that the whole of the modes of musical harmony and the relations which compose it are resolved in proportional numbers.

With the French philosopher Pierre Magnard, we would rather say:

If to know is to measure, music is the art of pursuing measurement beyond the threshold of incommensurability. When numerical, metric and weight standards are no longer capable of establishing proportions between natural realities, harmony comes to the rescue of its own scales – diatonic, chromatic, enharmonic – and of its intervals – fifth, fourth, third, octave – to make up for the lack of calculation.

Finally, as the Roman musicologist Theon of Smyrna (70-135) stated:

The Pythagoreans assert that music is a harmonic combination of opposites, a unification of multiples and an agreement of opposites.

In addition, for the Pythagoreans, music also had an ethical and medical value:

He started education with music, using certain melodies and rhythms, thanks to which he healed the character traits and passions of men, and brought harmony between the faculties of the soul.

All this made Pythagoras the incarnation of a cosmic and universal harmony**. Moreover, he would have been the first to have used the word « cosmos » (perfection, order).

A page from The Harmony of the World by Johannes Kepler.

Pythagoras, praised by the first true astrophysicist Johannes Kepler (1571-1630), is said to have been the first to coin the concept of « the music of the spheres » or « the harmony of the spheres ».

For, as Sextus Empiricus (towards the end of the second century) states in his Pyrrhonian sketches, Pythagoras would have noted that the distances between the orbits of the Sun, the Moon and the fixed stars correspond to the proportions regulating the intervals of the octave, the fifth and the fourth. In the Republic, Plato states that astronomy and music are « sister sciences ».

A page of the Harmony of the World where the astronomer Johannes Kepler evokes the music of the spheres.

Copernicus admits that the work of the Pythagoreans inspired his own research:

Others think that the Earth moves. Thus, Philolaos the Pythagorean says that the Earth moves around the Fire in an oblique circle, as do the Sun and the Moon. Heraclitus of Pontus and Ecphantos the Pythagorean do not, it is true, give the Earth a translational motion [motion around the Sun, heliocentrism]… Starting from this, I too began to think of the mobility of the Earth

(Copernicus, letter to Pope Paul III, preface to De revolutionibus orbium caestium [On the Revolutions of the Celestial Orbs], 1543).

The name Pythagoras (etymologically, Pyth-agoras: « he who was announced by the Pythia », the goddess), derives from the announcement of his birth made by the oracle to his father during a trip to Delphi. However, legend has it that Pythagoras was the son of Apollo, the god of light, poetry and music.

According to the oldest pre-Socratic traditions, Apollo had conceived a plan to control the universe. This plan was revealed in « the music of the spheres » under the wise supervision of Apollo, the sun god and god of music; a Greek god who passed to the Romans without changing his name. Apollo is represented with a crown of laurels and a lyre, surrounded by the nine muses.


GUIDED TOUR

After reviewing the political situation of the time, the motivations of Pope Julius II and his advisors seeking to re-establish the authority of a « Triumphant Church, » the ultimate culmination for centuries to come of a culture that goes back to Apollo, Moses, Pythagoras, Plato, Cicero and their disciples, the viewer now has some solid « keys » (the « codes ») in hand that will allow him or her to « read » Raphael’s frescoes adorning the Stanza.

Without Raphael’s account of his work, this reading remains an obstacle course. For example, the identification of the figures remains uncertain, since, with a few rare exceptions, no tablet tells us this. The idea, in any case, is that the spectator, by analyzing the appearance and gestures of each one, discovers for himself who is represented.

As we said, when entering the room, the viewer is immediately asked to appreciate each fresco not in isolation, but as an expression of a coherent whole.

When entering the Stanza, as if inside a painted cube, one immediately realizes that one is facing a theatrical setting. For the great vaults that the spectator discovers are only painted images and do not respond to any structural reality of the building. Inghirami was a speaker, an actor and a director who knew who should appear where, with what attitude and dressed in what way. Thanks to this imagination, a room that was at first sight rectangular and boring, was transformed into a spherical cube because the corners of the room were « rounded » with stucco.


A. THE CEILING

The ceiling of the Signing Chamber: at the centre, the coat of arms of Julius II (A). Then four circles with Philosophy (B), Theology (C ), Poetry (D) and Justice (E).

From the thematic point of view, the visual path, as one might expect, begins on the ceiling and ends on the floor. In the center of the ceiling, a small circle with the coat of arms of Julius II. Around it, an octagon surrounded by four circles connected by four rectangles. Each of the four circles touches the top of one of the four vaults painted on the four walls and shows an allegorical figure and a text announcing the theme of the large frescoes below.

Each time, it is a question of emphasizing the harmony uniting all the opposing (circle, square) parts. While the real incompatibilities are left to the checkroom, the oppositions and the formal differences will even be strongly emphasized, but exclusively to show that one can accommodate them by submitting them to a higher design.

The four circular frescoes decorating the ceiling of the Signature Chamber. Starting at the top left and going clockwise: Theology, Philosophy, Justice and Poetry.

Thus two double themes (2 x 2) are articulated:

  • Philosophy (the true accessible by reason), nicknamed The School of Athens, and Theology (the Truth accessible by divine revelation), nicknamed since the Council of Trent, the « Dispute of the Holy Sacrament »; a theme common to Aquinas and the neo-Platonists.
  • Poetry and music (the Beautiful), and Justice (the Just), a theme of Ciceronian origin.
  • Above the theme Philosophy, in one of the four circles, is represented by a woman wearing a dress with each of the four colors symbolizing the four elements evoked by a motif: blue illustrates the stars, red the tongues of fire, green the fish and golden brown the plants. Philosophy holds two books entitled « Morality » and « Nature », while two small genius (geniuses) carry tablets on which one can read « CAUSARUM » and « COGNITO », read together meaning « To know the causes ». Clearly, the aim of moral and natural philosophy is to know the causes, that is to say to go back to God.
  • Above Theology, a woman dressed in red and green, colors of the theological virtues. In her left hand, she holds a book, her right hand points to the fresco below. Two geniuses carry tablets saying « DIVINAR.RER » and « NOTITIA », « The revelation of sacred things ».
  • Above Poetry, the winged figure of the Poetry carrying lyre and crown of laurels. Two putti (cherubs) present us with tablets on which are inscribed the words of Virgil: « Inspired by the spirit » (NVMINE AFFLATVR). Since we are dealing with puttis and not geniuses, there is a clear reference to the Christian spirit that inspires the arts.
  • Finally, above the last fresco, Justice, a woman holds the attributes of justice: the scales and the sword. Two putti carry tablets with the words of the Emperor Justinian: « IVS SVVM VNICUMQUE », that is, « to each his just punishment ».

Then, still on the ceiling, as we have indicated, there are four rectangular frescoes connecting the four circles whose theme we have just specified. Again, these are two pairs that complement each other.

In the four squares: A. Wisdom, the first mover; B. The Fall with Adam and Eve driven out of Paradise; C. The Judgment of Salomon; D. The triumph of Apollo over Marsyas in the fight for the lyre.

A. A first rectangular fresco, linking Philosophy with Poetry, shows us a woman (wisdom, the first mover) here as the first cause and setting a celestial globe in motion and thus the universe in action. It may be the mythical Sibyl mentioned by Heraclitus, a superhuman incarnation of the prophetic voice. Philosophically, it is an allegory of the creation of the universe (or Astronomy). The constellation that appears on the globe has been identified. It corresponds to the sky map of the night of October 31, 1503, the date of the election of Julius II… which of course the date he became the “prime mover” of the universe.

B. The second rectangle, diametrically opposed to the first one and linking Justice to Theology, represents « Adam and Eve driven out of Paradise ». Considered as the beginning of theology, « The Fall of Man », will be repaired by the « redemption » that the Church and Pope Julius II will bring, embodied by the creative wisdom putting the universe back into motion.

C. The third rectangle, linking Philosophy and Justice, represents « The Judgment of Solomon, » a scene showing King Solomon’s wise judgment when two mothers claimed the same child.

D. And finally, the fourth, at the other end of the diagonal, connecting Poetry and Theology, represents, not « The Flogging of Marsyas » as has been claimed, but another rather rare scene, « The Triumph of Apollo over Marsyas » in the struggle for the lyre. The latter receives a crown of laurels. The two judgments are based on different bases for their mutual appreciation. While King Solomon, representing the Old Testament, judges on the basis of the divine law, Apollo, who represents antiquity here, prevails thanks to the rules of the pagan pantheon, his will power.


B. THEOLOGY

(THE DISPUTE OF THE HOLY SACRAMENT)

Theology (Dispute of the Holy Sacrament)

*In the upper (celestial) register :
A. God the Father, B. Jesus Christ, C. Mary, D. St. John the Baptist, E. Apostle Peter, F. Adam, G. St. John the Evangelist, H. King David, I. St. Lawrence, J. Judas Maccabaeus, K. St. Stephen, L. St. Stephen, M. Moses, N. James the Greater, O. Abraham, P. St. Paul, SE. Holy Spirit.


*In the lower (earthly) register:
1. Fra Angelico, 2. ?, 3. Donato Bramente, 4. ?, 5. ?, 6. Pico della Mirandola, 7. ?, 8. ?, 9. ?, 10. Saint Gregory, 11. Saint Jerome, 12. ?, 13. ?, 14. ?, 15. ?, 16. Saint Ambrose, 17. Saint Augustine, 18. Saint Thomas of Aquinas, 19. pope Innocent III, 20. Saint Bonaventure, 21. pope Sixtus IV, 22. Dante Alighieri, 23. ?, 24. ?; 25. a mason, 26. ?, 27. ?

Historians tell us that it was the first fresco to be made. The core subject here is the Trinity and « transubstantiation », a supernatural phenomenon signifying the conversion of one substance into another, in the case of Christians, the conversion of bread and wine into the body and blood of Christ in the Eucharist under the action of the Holy Spirit. This meant a « real presence » of God at mass and thus a major attraction to attract the faithful and a precondition to obtain « indulgences » from him. For some humanists, such as the Swiss Protestant Ulrich Zwingli (1484-1531), any doctrine of the real presence is idolatry because it would be tantamount to worshiping bread and wine as if it were God.

Erasmus, for whom the performance of rituals should never be a substitute for true faith, explains that when Christ said to his disciples, in offering them bread, « this is my body » and « this is my blood, » in offering them wine, he was in reality talking metaphorically, not of bread and wine, but of his disciples (his body) and his teaching (his blood).

The idea of the composition is to show the triumph of the unity of the Church in Christ in all its complexities and diversities. The scene takes place on two levels, one celestial and the other terrestrial, lining up, as in a theater, a vast variety of actors presenting themselves to the public.

Above, in the celestial register, the heart of the subject, « the Trinity » with God the Father (A) blessing enthroned above a Christ (C) surrounded by Mary (B) (the New Testament) on his right and St. John the Baptist (D) (the Old Testament) on his left, themselves appearing above a dove symbolizing the Holy Spirit (SE).

Around them, to match the architecture of the School of Athens opposite, sit peacefully on a semi-circular cloud bench, the remarkable figures of the Church Triumphant, accompanied by their traditional attributes and dressed in colorful garments specific to each.

At the ends of the semicircle, two apostles: the Apostle Peter (E), representing the Jews, and the Apostle Paul (P), representing the Gentiles, face each other, as if they were the outer guards of the triumphant Church, the custodians of both the key and the letter of it. The Old Testament is represented by Adam (F) facing Abraham (O), and Moses (M) facing King David (H) with his harp in hand. The New Testament is also represented by St. John (G) facing St. Matthew (N) (two authors of the Gospel), by St. Lawrence (I) and St. Stephen (L) (both martyred saints).

At the bottom, in the terrestrial register, there is an enormous altar (Y) on which is written (in the middle) « IV LI VS » (Julius). A golden monstrance (X) with a host in its center proclaims the presence of Christ in the mystery of transubstantiation. Next to it, the Doctors of the Church of the early days of Christianity: on the left (under the features of Julius II) St. Gregory (No. 10), the great reformer of the ritual and the chant of the Mass, next to St. Jerome (No. 11), the most profound scholar of Christianity), accompanied by his lion. On his right Saint Augustine (N° 17) and Saint Ambrose (N° 16). These four doctors are, unlike the other figures, seated, which already brings them closer to the figures in the heavens; we can also distinguish two later doctors who are St. Thomas Aquinas (No. 18), a Dominican; and St. Bonaventure (No. 20), a Franciscan.

The historian Konrad Oberhuber, adds that these last two,

embody two tendencies of the Church: one that sees its essence of Christianity in ritual and devout adoration (the dimension of feeling), the other that defends the importance of theology (the dimension of thought).

Only two figures appear twince in Raphael’s frescoes: Dante Aleghieri and Pico della Mirandola. The latter, here on the left, dressed in white, in Philosophy, on the right, dressed in yellow in Theology.

Then, Popes Innocent III (1160-1216) (N° 19), the most powerful pope of the Middle Ages who established the political independence of Rome) and Sixtus IV (1414-1471) (N° 21, Francesco della Rovere by name) rub shoulders with religious figures such as the Dominican Savonarola (instigator in 1494 in Florence of a political revolution (return to the Republic) and moral revolution (rechristianization) or, the painter Fra Angelico (N° 1), contemporary of Savonarola, admired for his frescoes and his sublime paintings, accompanied by Dante Alighieri (N° 20), whose Divine Comedy (with hell, purgatory and paradise) had an influence on theology in the Middle Ages, Donato Bramante (N° 3), the famous architect of St. Peter’s Basilica, not forgetting Pico della Mirandola (N° 6), (mistaken for Francesco Maria della Rovere) who, with his hair blowing in the wind, is pointing towards the Trinity in a light and graceful wiggle. On the right, masons (N° 22), who build churches, bend forward. If on the right, behind the figures, the white marble foundations (Z), allude to the new St. Peter’s Basilica whose reconstruction Julius II has just launched, on the left, a village church (Q) reminds us that Christianity must penetrate the daily life of the humble.


C. PHILOSOPHY

(“SCHOOL OF ATHENS”)

A beautiful central view perspective shows a get together of 58 Greek and other thinkers in an ideal temple. No chiaroscuro effect disturbs the balance of the colors and the clarity of the composition.

The American thinker Lyndon LaRouche (1922-2019), during his visit to the Vatican, marveled at the graceful harmony that radiates from this work. It could not help but resonate with a concept LaRouche developed throughout his life: that of the « simultaneity of eternity »; the poetic idea that « immortal » ideas continue their dialogue in a place beyond material time and space.

According to historians, Raphael, faced with the Herculean task of creating this series of portraits, and lacking reliable visual data about the figures to be portrayed, sent one of his assistants to Greece to collect indications and provide him with documentation to meet the challenge.

Small detail: the event doesn’t take place in Athens or Greece, but in Rome. The architecture is clearly inspired by the church of Sant’Andrea of Mantua, renovated shortly before his death by Leon Battista Alberti (1404-1472) and by Bramante‘s plans for the reconstruction of St. Peter’s Basilica in Rome. It is Rome set to become the new Athens.

Nave of the church of Sant’Andrea in Mantua, built in 1473 by the architect Leon Battista Alberti.

Although the steps can be found in the preparatory drawings, the large arches with their coffered vaults, typical of the dome of the Roman Pantheon, do not appear. Another probable source of inspiration is the arches, also with coffered vaults, the Basilica of Maxentius and Constantine, built in Rome at the beginning of the 4th century to reaffirm the power of the beauty of the Eternal City.

It is not excluded that Bramante himself, who had made a tromp-l’oeil using this type of pattern in the apse of the church of Santa Maria presso San Satiro in Milan, designed them in person. With three arches (tetrad) and seven rows of caissons, Pythagorean numerology is never far away.

Visually, the ensemble is divided in two. The audience is on the same level as the foreground, a paved parterre behind which a very wide staircase leads to a raised forecourt. For the viewer, a slightly cavalier perspective reinforces the monumental dimension of the figures on the upper level. This setting is inevitably reminiscent of a theater stage.

The actors, arriving from the old world, can enter the stage on one side, under the statue of the Greek god Apollo (A), god of light, and leave on the other, towards the new world, under the statue of Pallas Athena (B), which became Minerva in Roman times, protector of the Arts, to exchange ideas with each other, address the audience or climb the stairs and leave through the back.

In the center of the square and in the center of a perspective with a central point of view, Plato (N° 9) and Aristotle (N° 10) don’t confront each other but move forward, side by side, towards the viewers (and the Triumphant Church on the opposing wall).

The first one, with the Timaeus in his hand, points a finger towards the sky, meaning that beyond the visible, a higher principle exists. The second one extends his arm and his hand horizontally underlining that all truth comes to us from the testimony of the senses, while carrying the Ethics with the other arm.

Strangely, these are the only two books in the stanza whose names appear in Italian (Timeo, Etica) and not in Latin. As the art critic Eugenio Battisti (1924-1989) observed:

If we (…) examine the titles of the works respectively held by Plato and Aristotle, we see the philosopher of the Academy holding the Timaeus, that is to say the most Aristotelian and the most systematic of his works and the Stagirite, the Nicomachean Ethics, that is to say the most Platonic of his works.

Even the choice of the colors of the clothes emphasizes complementarity: Plato is dressed in red (fire) and purple (ether); Aristotle in blue (water) and yellow (earth).

The colors of the clothes of the two philosophers symbolize the four elements: Plato is dressed in red (fire) and purple (ether); Aristotle in blue (water) and yellow (earth).

If the whole fresco cuts the world in two between Platonists and Aristotelians, both walk together towards what is in front of them and behind the spectator who looks: towards the fresco of Theology with the Trinity in the center without forgetting the monstrance and the imposing altar on which is marked « JV-LI-VS PON TI CUS ». How generous of the Church to welcome so many pagans into its midst!

Plato and Aristote walk toward this alter in front of them, on which one can read twice (in the center and on the top): « Julius »

Raphael however communicates a great sense of movement. In the same way that the Dutch painter Rembrandt, in his 17th century masterpiece The Company of Captain Frans Banning Cocq, known as The Night Watch, broke with the formal representations of the dignitaries of the city guilds, Raphael here drew a line under the frozen and static representations of the series of « great men » often decorating the palaces and libraries of the great princes and lords in the style of his master Perugino.

His fresco, like Leonardo’s Last Supper in Milan, is organized as a sequence of small groups of three or four people conversing with a great thinker or each other, never out of sync with what is happening around them. In this sense, Raphael translated into images, and thus made accessible to the eyes of the spectators, that harmonic unity transcending the multiple so sought after by the commissioners.

Raphael and Inghirami did not hesitate to use portraits of people living in their time to represent historical figures. In addition to themselves, there are their patrons, colleagues and other personalities whom they hoped to please or charm.

In the foreground, four groups are shown.

Raphael’s impresario, the Pope’s chief librarian, Tommaso Inghirami as Epicurus in Raphael’s fresco. He wears not a laurel wreath, but oak leaves, the coat of arms of Pope Julius II.

On the left, Epicurus (N° 25), here with the features of Inghirami writing the setting of the play. Born in Samos like Pythagoras, he wears here, not a crown of laurels, reward given to great orators, but a crown of oak leaves, symbols that we find in the coat of arms of pope Julius II.

Some historians believe that Inghirami was a Dionysian follower of Orphism, another pre-Socratic current. Dionysus is indeed the brother of Apollo and according to some, their teachings are one and the same.

As mentioned above, shortly after Raphael’s death (1520), Cardinal Jacopo Sadoleto published a treatise in which Inghirami defends rhetoric and denies any value of philosophy, his main argument being that everything written is already in the mystical and mythological texts of Orpheus and his followers.

In Rome, the scholars of the time knew Epicurus mainly through their readings of Cicero for whom Epicurus was not a debauchee but someone who sought the noblest pleasure. Cicero had a friendship with an Epicurean philosopher, a certain Phaedrus, as it happens the nickname of Inghirami…

Finally, on the extreme left, there is an old bearded man, the Greek thinker Metrodorus (N° 26), disciple of Anaxagoras and for whom it is « the acting spirit » that organized the World. In front of him, a newborn baby. Together they could symbolize the birth of truth (the child) and wisdom (the old man) and experience.

Pythagoras of Samos, in The Philosophy. On the slate, at the bottom, the famous Tetraktys, at the top, the harmonic ratios of the musical scale.

Next to him, a little more in the center, the imposing figure of Pythagoras (N° 22) (whom the Italian historian Georgio Vasari mistook for the evangelist Saint Matthew), seated with a book, an inkwell and a pencil, writing surrounded by visibly intrigued people. Behind him, seated on the left, an old man, representing Boethius (N° 23), Roman author, in the sixth century, of a treatise on music, the first part of which evokes « the harmony of the spheres », tries to look at what he is writing in his book. Without capturing a moment of potential transformation, as Leonardo knew how to do, the scene is obviously inspired by his unfinished painting, the Adoration of the Magi.

At his feet, a black slate with the famous Tetraktys and a diagram of musical intervals (see our section in this article on Pythagoras).

Since it is totally unthinkable that it is Averroes (banned from the Church, as said, by Aquinas), the turbaned man who seems to admire him could be Avicenna (Ibn Sina) (N° 24). This Persian physician, influenced by the thought of both Hippocrates and Galen, in his Qanûn (of Medecine), operates a vast medico-philosophical synthesis of Aristotle‘s logic (which he corrects) and neo-Platonism, compatible with monotheism.

It could also be Al Fârâbi (872-950), another Arab scientist and musician who sought to reconcile faith, reason and science with the philosophy of Plato and Aristotle, whose translations from Greek into Arabic he had made. Avicenna admired him and the title of one of Al Fârâbî’s works leaves no ambiguity: The Harmony of the Opinions of the Two Sages: Plato the Divine and Aristotle.

Moreover, given his position on the side of the Platonists, although he wears a white turban, it is totally excluded that he is Averroes (Ibn Rushd), an author struck down by Aquinas (see the paintings showing The Triumph of Saint Thomas) and then by the Neoplatonists of Florence for having denied the immortality of the individual soul.

More in the center of the fresco, two isolated figures immersed in their thoughts. The first, on the left, appears to have been added later by Raphael and is not in his drawing. The man is dozing on a cube, a Pythagorean volume par excellence. It is thought to be Heraclitus of Ephesus (No. 19) (an Ionian pre-Socratic for whom « there is nothing permanent but change ») with the features of Michelangelo. This sculptor fascinated Raphael, not only for his gifts in drawing, anatomy and architecture, but also for his spirit of independence from a pope he considered tyrannical.

It should be noted that the Moses that Michelangelo sculpted for the tomb of Julius II is said to be looking at him with anger because the artist captured the moment when Moses, coming down from Mount Sinai with the Tables of the Law, noticed that the Hebrew people had returned to worshiping idols, such as « the Golden Calf ». Irritated by this return to idolatry, Moses broke the Tables of the Law.

From Pythagoras to Plato.
One detail raises questions: Anaximander of Miletus places his right foot on a cubic block of marble whose volume seems to be eight times smaller than the one on which Heraclitus of Ephesus rests. However, to solve the problem of Delos (the duplication of the volume of the cube) it is necessary to wait for the Pythagorean and friend of Plato, Archytas of Taranto.

Anaximander of Miletus (N° 20) (and not Parmenides), also a representative of the Ionian school, stands behind Heraclitus and seems to contest the demonstration of Pythagoras (representative of the so-called « Italian » school). Behind him, a young man with long hair, looks at the spectator. Dressed in a white toga, an attribute of the Pythagoreans, he is once again Pico della Mirandola (N° 21), triumphant and surrounded by Pythagoras and two of his disciples. Legend has it that Raphael portrayed Hypatia of Alexandria (c. 370-415), a mathematician who headed the Neoplatonist school in Alexandria. When one of the cardinals examined the painting and knew that the woman depicted was Hypatia, he is said to have ordered that she be removed from it. Raphael is said to have obeyed, but replaced her with the effeminate figure of a nephew of Pope Julius II, Francesco Maria Della Rovere, future Duke of Urbino…

If this is really Pico della Mirandola, it would be a superb piece of praise, for appearing in both Philosophy and Theology, the two images of Pico, reminiscent of the kneeling angel looking at the viewer while pointing at St. John the Baptist in Leonardo’s Madonna of the Rocks, can contemplate each other!

The second isolated figure, nonchalantly spread out on the stairs, is the cynical and hedonistic philosopher Diogenes of Sinope (N° 18), here presented as an ascetic, but in the Aristotelian tradition.

The geometer (Hippocrates of Chios?).
Slate of the geometer.

Then, in the center right, an inspiring group of young people, amazed by their discoveries and exchanging their complicit glances with their comrades, around a surveyor who is examining or drawing with a compass parallel lines inside a hexagonal star on a slate laid on the ground.

This is an illustration of a theorem that neither Euclid (an Aristotelian) nor Archimedes mentioned, although the identity of one or the other is attributed to this figure in the guise of the architect Donato Bramante.

It could be, it is my conviction, the geometer Hippocrates of Chios (N° 17) of which Aristotle speaks in great good. He wrote the first mathematics textbook, entitled The Elements of Geometry. This work precedes Euclid’s Elements by a century. Unless we are talking about the architect Leon Battista Alberti, whose church in Mantua may have inspired Bramante and after all, author, in 1435, of De Pictura, a treatise (of Aristotelian spirit) on perspective.

However, in 1485, in his treatise on architecture De re Aedificatoria, Alberti, in a passage (IX, 5) that may have been of interest to the author of the fresco, stressed that:

“Beauty consists in a harmony and in an agreement of the parts with the whole, in accordance with determinations of number, proportionality and order such as the harmony requires it, that is to say the absolute and sovereign law of the nature.”

On the edge of the tunic: R.V.S.M. (Raphael Vrbinas Sua Manu, meaning: « By the Hand of Raphael of Urbino »).

Finally, to add to the mystery, on the collar of the tunic of this figure can be read: « R.V.S.M. » (Raphael Vrbinas Sua Manu), meaning « By the Hand of Raphael of Urbino »).

For what the surveyor is addressing on the slate is the role played by the diagonals of the hexagon. The answer is provided by the geometrical composition, in the form of a hexagon, which underlies the entire construction of the perspective of the fresco.

The diagonals show a beautiful complementarity between the arithmetic mean and the harmonic mean (see authors diagram below).

It is a masterly demonstration in the field of the visible, of the concept structuring the whole theme of the work: complementarity, the foundation of universal harmony.

By tracing the horizon line and the lines of escape of the perspective from the bottom of the cornices of each arch, the isosceles triangle OAB appears. By inscribing it in a circle whose center is the central vanishing point (O), we obtain a hexagon. By tracing the diagonals (XB) of this hexagon, we obtain both the arithmetic mean (Y) and the harmonic mean (Z). The trick is done! For their complementarity illustrates marvelously the guiding motif of the whole Signature Chamber: the universal harmony that orders the beauty of the proportions of the universe.
Credit: Karel Vereycken

On the right, the geographers Ptolemy (No. 16) and Strabo (No. 15) (in the guise of Baldassare Castiglione, the head of the Pope’s army and a friend of Raphael’s?), who is identified without real evidence with Zoroaster but to whom Pico della Mirandola indeed refers, stand face to face. The first shows the Earth as a sphere, the second a globe of the Heavens.

Finally, on the far right of the first register, with the features of Raphael, the legendary painter of the court of Alexander the Great, Apelles of Cos (N° 13). It should be remembered that, during his lifetime, Raphael was nicknamed « the Apelles of his time ». Next to him, his rival, the Greek painter Protogenes (N° 14) in the guise of Raphael’s colleague, the sulfurous but virtuoso fresco artist Sodoma. Coming from the world of the craftsmen, it is a question here of marking the entry of two painters-decorators into « the court of the big guys » and making their first steps in the world of philosophy.

Raphael, preparatory drawing for Plato and Aristotle. In the final version, their respective sizes have been equalized. Note the absence of the titles of the books.

On the steps, the central subject, as we have said, Plato and Aristotle. Plato‘s features in the fresco have nothing to do with any supposed portrait by Leonardo da Vinci. Leonardo was born in 1452 and was only 56 years old when the fresco was painted. Raphael is said to have used the image of a bust of Plato discovered in Athens in the ruins of the ancient academy. In reality, the famous drawing of an old man (Turin), supposed to be a self-portrait of Leonardo and resembling the image of Plato in the School of Athens, has been proven to date from the 19th Century.

In the crowd to the left of Plato is Socrates (no. 6), his teacher, whose face was known to everyone from Roman statues. The identification of the other figures remains largely hypothetical. One thinks of the speakers of Plato‘s dialogues. Close to Socrates, his old friend Crito (N° 4). Behind Socrates, the Athenian intellectual Isocrates (N° 7) who had withdrawn from political life and although close to Socrates, set himself up as Plato‘s rival. Close to the latter, the five interlocutors of Plato‘s dialogue, Parmenides. Among them, Parmenides (N° 8), considered at the origin of the concept of the One and the multiple, and the pre-Socratic thinker Zeno of Elaea, known for his philosophical paradoxes.

The Athenian general (here dressed as a Roman soldier) Alcibiades (N° 3) and the young man in blue could be Phaedo of Elis (N° 5) or Xenophon, both listening to Socrates counting on his fingers, a gesture suggesting his famous dialectic.

All around the Greek thinkers, other figures are stirring. Behind general Alcibiades, a figure (perhaps a librarian) holds back another running figure, begging him not to disturb the ongoing exchanges between philosophers and scientists.

At the far left, a man with a hat enters the stage. It could be Plotinus (N° 2), a founding figure of Neoplatonism admired by cardinal Bessarion, accompanied by Porphyry (N° 1), another Neoplatonist who brought his biography of Pythagoras as a messenger from the ancient world.

In the Renaissance, the realization of a fresco (painted on fresh plaster) was no longer linked to the position of the scaffolding (bridges) but to the decision of the workers and artists as to the surface to be realized in a day (giornata) of work. Generally it was a surface between 1 and 4 m2.
Here the giornata of the School of Athens.

D. JUSTICE

Justice
A. Fortitude, B. Prudence and C. Temperance.
1. Justinian, 2. Tribonian, 3. pope Paul III, 4. Antonio Del Monte,

5. pope Leo X, 6. pope Gregory IX (Julius II), 7. pope Clement VII.

On top, in the lunette (half moon), the three virtues represented would be Fortitude (A), Prudence (B) and Temperance (C). Together with Justice, they constitute the four cardinal (profane) virtues. The central female figure, holding a mirror, refers to Prudence. On the left, Fortitude holds an oak branch, an allusion to the della Rovere family from which Julius II, the pope who commissioned the frescoes, descended.

Below, once again, complementarity is at work. On the left, painted by Lorenzo Lotto, the Roman emperor Justinian I (N° 1) receives the Pandects (the civil law) from the Byzantine jurist Tribonian (N° 2).

On the right, in the guise of Julius II, Pope Gregory IX (N° 6) promulgates the Decretals; a masterly sum of canon law which he had ordered to be compiled and published in 1234.

On his right (thus on the left of the spectator), one sees a cardinal, in purple dress, having the features of the cardinal Jean de Médicis, future pope Leo X (N° 5). The two other cardinals behind him would be Alessandro Farnese, the future pope Paul III (N° 3), and Antonio Del Monte (N° 4). And to his left (right for the viewer) a cardinal representing Cardinal Julius de Medici, the future Pope Clement VII (N° 7). With your image immortalized on a fresco in the right place, your career to become pope would seem to be better engaged!

The fact that Julius II is represented wearing a beard allows to date the fresco beyond June 1511. Indeed, the pontiff, who left Rome beardless to wage war, then let his beard grow and vowed not to shave it off until he had liberated Italy. He returned to Rome in June. Historians point out that the prominence of the pope’s portrait indicates how the theme of the decoration of the Chambers was transformed, around 1511, into that of the glorification of the papacy. Hence, in this way “Justice” becomes the right of Julius II to impose « his » justice.


E. POETRY

(« PARNASSUS”)

Poetry (“Parnassus”).

The poets:
1. Alcaeus of Mytilene, 2. Corinna, 3. Petrarch, 4. Anacreon, 5. Sappho, 6. Ennius, 7. Dante, 8. Homer, 9. Virgil, 10. Statius (Poliziano), 11. Apollo, 12. Tebaldeo, 13. Boccaccio, 14. Tibullus, 15. Ariosto,

16. Propertius, 17. Ovid, 18. Sannazaro, 19. Pindar.

The nine muses:
A. Thalia, B. Clio, C. Euterpe, D. Calliope, E. Polyhymnia, F. Melpomene, G. Terpsichore, H. Urania.
I. Erato.

A window reduces the space available for the fresco to a large lunette where the characters are divided into small groups on a semi-circular line.

The underlying idea here, taken from St. Thomas, is that truth is made accessible to man, either by Revelation (Theology) or by Reason (Philosophy). For the Neoplatonic school, this truth manifests itself to our senses through Beauty (poetry and music).

The scene painted here takes place near Delphi, at the top of Parnassus, the sacred mountain of Apollo and home of the Muses of Greek mythology.

The large window around which the fresco is organized offers a view, beyond the cortile (small circular temple) of Bramante, on the hill of Belvedere (Mons Vaticanus), where shows were given and where, in ancient times, Apollo was honored, which earned him the name of Apolinis.

Apollo is the patron of musicians: « It is through the Muses and the archer Apollo that there are singers and citharists », says Hesiod. He even inspires nature: when he passes by, « the nightingales, swallows and cicadas sing ». His music soothes the wild animals and moves the stones. For the Greeks, music and dance are not only entertainments: they allow to heal men by tuning the discords that eat away at their souls and thus to bear the misery of their condition.

At the top of the hill, seven laurels. Near the Castalia spring, Apollo (N° 11), crowned with laurel leaves and in the center of the composition, is tuning around him the nine muses (A to I) playing on his lyre.

On the left side Calliope (D), the one « who has a beautiful voice » and represents the epic poetry, and on the right, Erato (I), « the lovable one » who represents the lyric and erotic poetry as well as the nuptial song. Each presides over the tuning of the other’s chorus: on the left, behind Calliope, Thalia (A) (« the flourishing, the abundant »), Clio (B) (« who is famous » and represents history) and Euterpe (C) (« the joyful » who represents music). Finally, just behind Erato, Polyhymnia (E) (« the one who says many hymns » and represents rhetoric, eloquence and pantomime), Melpomene (F) (« the singer » who represents tragedy and song); Terpsichore (G) (« the charming dancer ») and Urania (H) (« the celestial one » who represents astronomy).

And you don’t have to be Pythagoras to count 7 laurels on the mountain and remember that nine muses plus Apollo make… ten.

As one of the square frescoes on the ceiling reminds us, Apollo had triumphed over Marsyas in a fight to seize the lyre, considered as the divine instrument capable of leading souls to heaven, better than the flute which only excites the lower passions. By detaching the man from his immediate material concerns, the victorious lyre allowed to arouse the divine love in men. In addition, the Romans knew of a seven-stringed lyre, a Pythagorean legacy, the number seven referring to the seven heavenly bodies orbiting the central fire.

For the Pythagoreans and also Heraclitus, the imitation of the « harmony of the spheres », thanks to the harmonies produced by the seven strings, allows the purification of the souls.
Apollo at Mount Parnassus, woodcut by Hans von Kulmbach, published in 1502.

However, strangely enough, Apollo is not holding a traditional four-stringed lyre, but a lira da braccio. If Apollo plays here the lyre with arms, the muses Calliope, Erato and the sibyl Sappho hold lyres identical to those of the sarcophagus known as « of the Muses » of the Museo delle Terme in Rome.

In many representations of the 16th century, the lyre is played by a group of angels or mythological characters, such as Orpheus and Apollo, but also King David, Homer or the Muses. Among its interpreters, we can count Leonardo da Vinci. The instrument is essentially designed like a violin, but with a wider fingerboard and a flat bridge that allows for chordal playing. The lyre generally has seven strings: four like a violin, augmented by an additional low string (making five), and two strings beyond the fingerboard, which are not played but serve as a drone and resonate in the octave. Now, Raphael, in order to create a perfect harmony with the number of muses around Apollo, will increase the number of strings from seven to nine, that is to say seven adjustable plus two drones. This detail concerning the lyre seems to have been modified in time. Indeed, an engraved reproduction, from 1517, probably from drawings prior to the fresco, or from its preliminary project, by Marcantonio Raimondi, reveals a state quite different from what we see today.

Marcantonio Raimondi, engraving (ca. 1517) after Raphael’s Mount Parnassus in the Signing Chamber.

The composition is less dense and highlights, like the School of Athens, several groups of three figures each. What is striking at first is that the ancient lyre played by Apollo with his fingers rests on his thigh, while in the present version, Apollo vibrates the strings of his lira da braccio with a bow, while looking up to the sky, in accordance with the fresco on the ceiling where are inscribed the words of Virgil: « Inspired by the spirit » (NVMINE AFFLATVR).

All around, eighteen poets are divided into several groups. The identification of some is unequivocal, that of others more doubtful. They are all chained to each other by gestures and looks, forming a kind of continuous crescent.

At the top left, the father of Latin poetry Ennius (N° 6), seated, listens raptly to the song of Homer (N° 8), while Dante (N° 7), further back, looks at Virgil (N° 9) who turns towards him, the Roman poet Statius (N° 10), in the guise of Poliziano, at his side. The latter was a disciple of the florentine Neoplatonist Marsilio Ficino. To represent the historical figures, Raphael drew inspiration from Roman statuary. For the face of Homer, for example, he adopted the dramatic expression of the Laocoon, which he had found in Rome in 1506.

At the bottom left are the Greek poet Alcaeus of Mytilene (N°1), the Greek poetess Corinna (N° 2), Petrarch (N° 3) as well as the Greek poet Anacréon (N° 4). In the final version, two characters who leave the frame came to enrich the composition. On the left, the sibyl Sappho (N° 5) as indicated by a tablet. Considered the first poetess of ancient Greece, she lived in the seventh and sixth centuries BC. According to the Homeric Hymns, it is her who would have built the first lyre to accompany the poetic recitation. The only woman in entire fresco is painted with a monumentality that is reminiscent of Michelangelo in the Sistine Chapel.

Sappho is the counterpart of Pindar (N° 19), and not Horace as is claimed, considered one of the greatest lyric poets of Greece and for whom Apollo was the symbol of civilization. Pindar is here in conversation with the Italian poet Jacopo Sannazaro (N° 18), dressed in blue and standing, and above them Ovid (N° 17).

On the right, on the side of the mount, besides Pindar, Sannazaro and Ovid, five other poets and orators : Antonio Tebaldeo (N° 12), with his back turned towards Apollo and under the features of Baldassare Castiglione ? ), Boccaccio (N° 13), behind, Tibullus (N° 14), Ariosto (N° 15), Propertius (N° 16), under the features of the cardinal poet very « Petrarquist » Pietro Bembo, a friend of Inghirami and enemy of Erasmus, and at his sides two unknown poets said « poets of the future judging the past ».

The identification of these characters remains largely hypothetical and controversial. To arrive at satisfactory results, it would be necessary according to the historian Albert Chastel, to find precise correspondences between the nine muses, nine classic poets and nine modern, in addition to the grouping by poetic genre.

After the death of Julius II, Pope Leo X made the Stanza della signatura his music room, replacing the books of his predecessor (which were moved to the large library on the lower floor) with intarsiae. Leo X will also have the pavement completed.


F. THE MOSAIC ON THE FLOOR

Mosaic of the Chamber of the signature:
A. Coat of arms of the pope, B. Spiral arm, C. Star of David, reference to the Jewish heritage.
Detail of the mosaic of the Chamber of Signature. We can read IVLIUS II PONT MAX.

The mosaic decorating the floor is said to be « cosmatesque », after the name of Cosmati, an old family of craftsmen and specialized in mosaics with four colors. Some materials come from Roman ruins, the green marble of the Peloponnese in Greece, the porphyry of Aswan in Egypt, and the yellow marble of North Africa. The white marble comes from the famous marble quarries of Carrara where Michelangelo chose his materials.

As on the ceiling, in the center of the room the coat of arms of the pope (A), this time inside a square (his earthly reign) inscribed in a circle (his theological mission). This first circle is surrounded by four spiral arms, each of which creates a new circular motif (B). This pattern is believed to be of Jewish origin. The Star of David (C) appears several times in this creation vortex. The doctrine of the four worlds, described in cabalistic cosmology, underlines their dynamic unity.

After all, for Giles de Viterbe, the recent discovery of Jewish mystical writings was of the same importance as the discovery of America by Christopher Columbus. Let us recall that for Julius II, like Plato and Pythagoras, Moses, whom Michelangelo sculpted for his tomb, already announced the later triumph of the Church of Rome which would, under his direction, synthesize them.

Conclusion

Thus, the whole theme of the « Chamber of the Signature » finds its full coherence with the idea of harmony and concordance. But when we look more closely, we see that it is only a question of « complementarity » at the level of forms and in the service of a temporal power disguised as a divine mission. Raphael, a talented painter, submitted to this by providing the product for which he was paid. He would end up painting things increasingly decadent by submitting to the pagan whims of the papal banker Agostino Chigi for the decoration of his villa, the Farnesina.

With the « Chamber of the Signature », we are far from the famous « coincidence of opposites » dear to Pythagoras, Plato, Nicholas of Cues and today Schiller Institute’s President Helga Zepp-LaRouche, which allows, in an uncompromising search for truth and for the love of humanity, to overcome paradoxes and solve a great number of problems from a higher point of view.

By piling up allegories and symbols, if it impresses, this masterly work ends up suffocating us. By the rules of its composition, it can only sink into the theatrical and the didactic. In a universe purged of the slightest irony or surprise, no real metaphor will be able to awaken us. And although Raphael tried to bring some life into it, the spectator is fatally left with a vast sediment of fossilized ideas, as dead as the most glorious ruins of the Roman Empire.

Brief bibliography:

  • Julius II, Ivan Cloulas, Fayard, Paris 1990;
  • Léon X et son siècle, Gonzague Truc, Grasset, Paris, 1941;
  • Une histoire des empires maritimes, Cyrille P. Coutensais, CNRS, 2013;
  • L’Humanisme, l’Europe de la Renaissance, André Chastel and Robert Klein, Editions Skira, Geneva, 1995;
  • L’Arétin ou l’insolence du plaisir, Bertrand Levergeois, Fayard, Paris, 1999;
  • Giorgio Vasari, l’homme des Médicis, Grasset, Paris, 1995;
  • Marsile Ficin et l’Art, André Chastel, Droz, Geneva, 1996 ;
  • Raphael and the Pope’s librarian, Nathaniel Silver, Ingrid Rowland, Paul Holberton Publishing, 2019;
  • Raphael’s Stanza della Signatura, Meaning and Invention, Christiane L. Joost-Gaugier, Cambridge University Press, 2002;
  • Pythagoras and Renaissance Europe, Finding Heaven, Christiane L. Joost-Gaugier, Cambridge University Press, 2009;
  • Raphael, Stephanie Buck and Peter Hohenstatt, Könemann, 1998;
  • The Intellectual Background of the School of Athens: Tracking Divine Wisdom in the Rome of Julius II, Ingrid D. Rowland, 1996;
  • Pagans in the Church: The School of Athens in Religious Contex, Timothy Verdon, 1996;
  • Raphael’s School of Athens, Marcia Hall, Cambridge University Press, 1997;
  • Raphael, Konrad Oberhuber, Editions du Regard, Paris, 1999;
  • L’énigme de la Segnatura, Raphael and Sodoma, André-Charles Coppier, Paris, 1928;
  • Raphael, John Pope-Hennessy, Harper & Row, London, 1970;
  • Who was Raphael, Nello Ponente, Editions Skira, Geneva, 1967:
  • Lives and doctrines of the illustrious philosophers, Diogenes Laërtius, La pochothèque, Paris, 1999;
  • Erasmus and Italy, Augustin Renaudet, Editions Droz, Paris, 2000 ;
  • Erasmus among us, Léon Halkin, Fayard, 1987 ;
  • Comment la folie d’Erasme sauva notre civilisation, Karel Vereycken, 2005 ;
  • The egg without shadow of Piero della Francesca, Karel Vereycken, 2007;
  • Albrecht Dürer against neo-platonic melancholy, Karel Vereycken, 2007.

NOTES:

* For an in-depth treatment of the subject, see Karel Vereycken, Albrecht Dürer against Neo-Platonic Melancholy, 2007.

**We can see here where certain sects, notably Rudolf Steiner’s Anthroposophists, draw their inspiration. Some still insist on demonstrating that Pythagoras, who believed in the transmigration of souls and therefore their possible reincarnation in animals or plants, was a vegetarian. Diogenes Laertius tells us that one day, « passing by someone who was mistreating his dog, it is said that he [Pythagoras, in a joking tone] was moved by compassion and addressed the individual with these words: ‘Stop and do not strike again, for it is the soul of a man who was my friend, and I recognized him by hearing the sound of his voice’ « . A whole series of authors ended up falling into numerology and irrational esoteric mumbo-jubo, in particular Francesco Zorzi, Agrippa of Nettesheim and Paracelsus.

Merci de partager !

Avicenna and Ghiberti’s role in the invention of perspective during the Renaissance

By Karel Vereycken, Paris, France.

Same article in FR, même article en FR.

No visitor to Florence can miss the gilded bronze reliefs decorating the Porta del Paradiso (Gates of Paradise), the main gate of the Baptistery of Florence right in front of the Cathedral of Santa Maria del Fiore surmounted by Filippo Brunelleschi’s splendid cupola.

In this article, Karel Vereycken sheds new light on the contribution of Arab science and Ghiberti’s crucial role in giving birth to the Renaissance.

Florentine Baptistery with its bronze doors. On the right, the eastern gates, on the left, the southern ones.

Historical context

The Baptistery, erected on what most Florentines thought to be the site of a Roman temple dedicated to the Roman God of Mars, is one of the oldest buildings in the city, constructed between 1059 and 1128 in the Florentine Romanesque style. The Italian poet Dante Alighieri and many other notable Renaissance figures, including members of the Medici family, were baptized in this baptistery.

During the Renaissance, in Florence, corporations and guilds competed for the leading role in design and construction of great projects with illustrious artistic creations.

While the Arte dei Lana (corporation of wool producers) financed the Works (Opera) of the Duomo and the construction of its cupola, the Arte dei Mercantoni di Calimala (the guild of merchants dealing in buying foreign cloth for finishing and export), took care of the Baptistery and financed the embellishment of its doors.

The Gates of Paradise

The Baptistry, an octagonal building, has four entrances (East, West, North and South) of which only three (South, North and East) have sets of artistically important bronze doors with relief sculptures. Three dates are key : 1329, 1401 and 1424.

  • In 1329, the Calimala Guild, on Giotto‘s recommendation, ordered Andrea Pisano (1290-1348) to decorate a first set of doors (initialy installed as the East doors, i.e. seen when one leaves the Cathedral, but today South). These consist of 28 quatrefoil (clover-shaped) panels, with the 20 top panels depicting scenes from the life of St. John the Baptist (the patron of the edifice). The 8 lower panels depict the eight virtues of hope, faith, charity, humility, fortitude, temperance, justice, and prudence, praised by Plato in his Republic and represented during the XVIth century by the Flemish humanist painter and reader of Petrarch, Peter Brueghel the Elder. Construction took 8 years, from 1330 till 1338.
Andrea Pisano, South Gate of the Baptistery (started in 1329), details. Right: baptism of Jesus. Left : Baptism of the multitude.
  • In 1401, after having narrowly won the competition with Brunelleschi, the 23 year old and inexperienced young goldsmith Lorenzo Ghiberti (1378-1455), is commissioned by the Calima Guild to decorate the doors which are today the North Gate. Ghiberti cast the bronze high reliefs using a method known as lost-wax casting, a technique that he had to reinvent entirely since it was lost since the fall of the Roman Empire. One of the reasons Ghiberti won the contest, was that his technique was so advanced that it required 20 % less (7 kg per panel) bronze than that of his competitors, bronze being a dense material far more costly than marble. His technique, applied to the entire decoration of the North Gate, as compared to his competitors, would save some estimated 100 kg of bronze. And since in 1401, with the plague regularly hitting Florence, economic conditions were poor, even the wealthy Calimala took into account the total costs of the program.

    The bronze doors are comprised of 28 panels, with 20 panels depicting the life of Christ from the New Testament. The 8 lower panels show the four Evangelists and the Church Fathers Saint Ambrose, Saint Jerome, Saint Gregory, and Saint Augustine. The construction took 24 years.
Ghiberti’s North Gate
Lorenzo Ghiberti, North gate (started in 1401) during recent restoration.
  • In 1424, Ghiberti, at age 46, was given—unusually, with no competition—the task of also creating the East Gate. Only in 1452 did Ghiberti, then seventy-four years old, install the last bronze panels, since construction lasted this time 27 years! According to Giorgio Vasari (1511-1574), Michelangelo Buonarroti (1475-1564) later judged them « so beautiful they would grace the entrance to Paradise ».
Lorenzo Ghiberti, « Gates of Paradise » (started in 1424, finished in 1452)

Over two generations, a bevy of well paid assistants and pupils were trained by Ghiberti, including exceptional artists, such as Luca della Robbia, Donatello, Michelozzo, Benozzo Gozzoli, Bernardo Cennini, Paolo Uccello, Andrea del Verrocchio and Ghiberti’s sons, Vittore and Tommaso. And over time, the seventeen-foot-tall, three-ton bronze doors became an icon of the Renaissance, one of the most famous works of art in the world.

In 1880, the French sculptor Auguste Rodin was inspired by it for his own Gates of Hell on which he worked for 38 year

Revolution

Lorenzo Ghiberti’s self-portrait, like his panels, proud to emerge out of a flat surface. Bronze bust of the Gates of Paradise.

Of utmost interest for our discussion here is the dramatic shift in conception and design of the bronze relief sculptures that occurred between the North and the East Gates, because it reflects how bot the artist as well as his patrons used the occasion to share with the broader public their newest ideas, inventions and exciting discoveries.

The themes of the North Gate of 1401 were inspired by scenes from the New Testament, except for the panel made by Ghiberti, « The Sacrifice of Isaac », which had won him the selection competition the same year. To complete the ensemble, it was therefore only logical that the East Gate of 1424 would take up the themes of the Old Testament.

Originally, it was the scholar and former chancellor of Florence Leonardo Bruni (1369-1444) who planned an iconography quite similar to the two previous doors. But, after heated discussions, his proposal was rejected for something radically new. Instead of realizing 28 panels, it was decided, for aesthetic reasons, to reduce the number of panels to only 10 much larger square reliefs, between borders containing statuettes in niches and medallions with busts.

Order of the panels.

Hence, since each of the 10 chapters of the Old Testament contains several events, the total number of scenes illustrated, within the 10 panels has risen to 37 and all appear in perspective :

  1. Adam and Eve (The Creation of Man)
  2. Cain and Abel (Jalousie is the origin of Sin)
  3. Noah (God’s punishment)
  4. Abraham and Isaac (God is just)
  5. Jacob and Esau
  6. Joseph
  7. Moses
  8. Joshua
  9. David (Good commandor)
  10. Solomon and the Queen of Sheba

The general theme is that of salvation based on Latin and Greek patristic tradition. Very shocking for the time, Ghiberti places in the center of the first panel the creation of Eve, that of Adam appearing at the bottom left.

After the first three panels, focusing on the theme of sin, Ghiberti began to highlight more clearly the role of God the Savior and the foreshadowing of Christ’s coming. Subsequent panels are easier to understand. One example is the panel with Isaac, Jacob and Esau where the figures are merged with the surrounding landscape so that the eye is led toward the main scene represented in the top right.

Many of the sources for these scenes were written in ancient Greek, and since knowledge of Greek at that time was not so common, it appears that Ghiberti’s “theological advisor” was Ambrogio Traversari (1386-1439), with whom he had many exchanges.

Traversari was a close friend of Nicolas of Cusa (1401-1464), a protector of Piero della Francesca (1412-1492) and a key organizer of the Ecumenical Council of Florence of 1438-1439, which attempted to put an end to the schism separating the Church of the East from that of the West.

Perspective

The bronze reliefs, known for their vivid illusion of deep space in relief, are one of the revolutionary events that epitomize the Renaissance. In the foreground are figures in high relief, which gradually become less protruding thereby exploiting the full illusionistic potential of the stiacciato technique later brought to its high point by Donatello. Using this form of “inbetweenness”, they integrate in one single image, what appears both as a painting, a low relief as well as a high relief. Or maybe one has to look at it another way: these are flat images traveling gradually from a surface into the full three dimensions of life, just as Ghiberti, in one of the first self-portraits of art history, reaches his head out of a bronze medal to look down on the viewers. The artist desired much more than perspective, he wanted breathing space!

This new approach will influence Leonardo Da Vinci (1452-1517). As art historian Daniel Arasse points out :

(…) It was in connection with the practice of Florentine bas-relief, that of Ghiberti at the Gate of Paradise (…) that Leonardo invented his way of painting. As Manuscript G (folio 23b) would much later state, ‘the field on which an object is painted is a capital thing in painting. (…) The painter’s aim is to make his figures appear to stand out from the field’ – and not, one might add, to base his art on the alleged transparency of that same field. It is by the science of shadow and light that the painter can obtain an effect of emergence from the field, an effect of relief, and not by that of the linear perspective.

Donatello

Herod’s Banquet, bas relief of Donatello, Sienna.

At the beginning of the 15th century, several theoretical approaches existed and eventuall contradicted each other. Around 1423-1427, the talentful sculptor Donatello, a young collaborator of Ghiberti, created his Herod’s Banquet, a bas-relief in the stiacciato technique for the baptismal font of the Siena Baptistery.

In this work, the sculptor deploys a harmonious perspective with a single central vanishing point. Around the same time, in Florence, the painter Massacchio (1401-1428) used a similar construction in his fresco The Trinity.

As we will see, Ghiberti, starting from the anatomy of the eye, opposed such an abstract approach in his works as well as in his writings and explored, as early as 1401, other geometrical models, called « binocular ». (see below).

Then, as far as our knowledge reaches, in 1407, Brunelleschi had conducted several experiments on this question, most likely based on the ideas presented by another friend of Cusa, the Italian astronomer Paolo dal Pozzo Toscanelli (1397-1482), in the latter’s now lost treaty Della Prospettiva. What we do know is that Brunelleschi sought above all to demonstrate that all perspective is an optical illusion.

Finally, it was in 1435, that the humanist architect Leon Baptista Alberti (1406-1472), in his treatise Della Pictura, attempted, on the basis of Donatello’s approach, to theorize single vanishing point perspective as a representation of a harmonious and unified three-dimensional space on a flat surface. Noteworthy but frustrating for us today is the fact that Alberti’s treatise doesn’t contain any illustrations.

In the Codex Madrid II, Leonardo demonstrated the limits and principled dysfunctionality of Alberti’s perspective.

However, Leonardo, who read and studied Ghiberti’s writings on, would use the latter’s arguments to indicate the limits and even demonstrate the dysfunctionality of Alberti’s “perfect” perspective construction especially when one goes beyond a 30 degres angle.

In the Codex Madrid, II, 15 v. da Vinci realizes that « as such, the perspective offered by a rectilinear wall is false unless it is corrected (…) ».

Perspectiva artificialis versus perspectiva naturalis

The minimum anatomical precondition to use Alberti’s abstract perspective model.

Alberti’s “perspectiva artificialis” is nothing but an abstraction, necessary and useful to represent a rational organization of space. Without this abstraction, it is fairly impossible to define with mathematical precision the relationships between the appearance of objects and the receding of their various proportions on a flat screen: width, height and depth.

From the moment that a given image on a flat screen was thought about as the intersection of a plane cutting a cone or pyramid, a method emerged for what was mistakenly considered as an “objective” representation of “real” three dimensional space, though it is nothing but an “anamorphosis”, i.e. a tromp-l’oeil or visual illusion.

What has to be underscored, is that this construction does away with the physical reality of human existence since it is based on an abstract construct pretending:

  • that man is a single eyed cyclops;
  • that vision emanates from one single point, the apex of the visual pyramid;
  • that the eye is immobile;
  • that the image is projected on a flat screen rather than on a curved retina.

Slanders and gossip

The crucial role of Ghiberti, an artist which “Ghiberti expert” Richard Krautheimer mistakenly presents as a follower of Alberti’s perspectiva artificialis, has been either ignored or downplayed.

Ghiberti’s unique manuscript, the three volumes of the Commentarii, which include his autobiography and which established him as the first modern historian of the fine arts, is not even fully translated into English or French and was only published in Italian in 1998.

Today, because of his attention to minute detail and figures « sculpted » with wavy and elegant lines, as well as the variety of plants and animals depicted, Ghiberti is generally presented as “Gothic-minded”, and therefore “not really” a Renaissance artist!

Giorgio Vasari, often acting as the paid PR man of the Medici clan, slanders Ghiberti by saying he wrote « a work in the vernacular in which he treated many different topics but arranged them in such a fashion that little can be gained from reading it. »

Admittedly, tension among humanists, was not uncommon. Self-educated craftsmen, such as Ghiberti and Brunelleschi on the one side, and heirs of wealthy wool merchants, such as Niccoli on the other side, came from entirely different worlds. For example, according to a story told by Guarino Veronese in 1413, Niccoli greeted Filippo Brunelleschi haughtily: « O philosopher without books, » to which Filippo replied with his legendary irony: « O books without philosopher ».

For sure, the Commentarii, are not written according to the rhetorical rules of those days. Written at the end of Ghiberti’s life, they may have simply been dictated to a poorly trained clerk who made dozens of spelling errors.

The humanists

Lorenzo Ghiberti, Gates of Paradise, the story of the Queen of Sheba visiting King Solomon. There is a lively crowd of people jostling to catch a glimpse casual of the symbolic bonding of Eastern and Western churches, via the meeting of Solomon and the Queen. It is believed that this scene represents the meeting on July 9, 1439 on the steps of Il Duomo in Florence, and was created at the demand of Ambrogio Traversari, the driving force behind the Ecumenical Council if Florence.

The Commentarii does reveal a highly educated author and a thinker having profound knowledge of many classical Greek and Arab thinkers. Ghiberti was not just some brilliant handcraft artisan but a typical “Renaissance man”.

In dialogue with Bruni, Traversari and the “manuscript hunter” Niccolo Niccoli, Ghiberti, who couldn’t read Greek but definitely knew Latin, was clearly familiar with the rediscovery of Greek and Arab science, a task undertaken by Boccaccio’s and Salutati’s “San Spirito Circle” whose guests (including Bruni, Traversari, Cusa, Niccoli, Cosimo di Medici, etc.) later would convene every week at the Santa Maria degli Angeli convent. Ghiberti exchanges moreover with Giovanni Aurispa, a collaborator of Traversari who brought back from Byzantium, years before Bessarion, the whole of Plato’s works to the West.

Amy R. Bloch, in her well researched study Lorenzo Ghiberti’s Gates of Paradise, Humanism, History, and Artistic Philosophy in the Italian Renaissance (2016), writes that « Traverari and Niccoli can be tied directly to the origins of the project for the Gates and were clearly interested in sculptural commissions being planned for the Baptistery. On June 21, 1424, after the Calima requested from Bruni his program for the doors, Traversari wrote to Niccoli acknowledging, in only general terms, Niccoli’s ideas for the stories to be included and mentioning, without evident disapproval, that the guild had instead turned to Bruni for advice. »

Palla Strozzi

Ghiberti’s patron, sometimes advisor, and close associate was Palla Strozzi (1372-1462), who, besides being the the richest man in Florence with a gross taxable assets of 162,925 florins in 1427, including 54 farms, 30 houses, a banking firm with a capital of 45,000 florins, and communal bonds, was also a politician, a writer, a philosopher and a philologist whose library contained close to 370 volumes in 1462.

Just as Traversari and Bruni, Strozzi learned Latin and studied Greek under the direction of the Byzantine scholar Manuel Chrysoloras, invited to Florence by Salutati.

Ghiberti’s close relationship with Strozzi, writes Bloch, « gave him access to his manuscripts and, as importantly, to Strozzi’s knowledge of them. »

But there was more. « The relationship between Ghiberti and Palla Strozzi was so close that, when Palla went to Venice in 1424 as one of two Florentine ambassadors charged with negociating an alliance with the Venetians, Ghiberti accompanied him in his retinue. »

Strozzi was known as a real humanist, always looking to preserve peace while strongly opposing oligarchical rule, both in Florence as in Venice.

In fact it was Palla Strozzi, not Cosimo de’ Medici, who first set in motion plans for the first public library in Florence, and he intended for the sacristy of Santa Trinita to serve as its entryway. While Palla’s library was never realized due to the dramatic political conflict knows as the Albizzi Coup that led to his exile in 1434, Cosimo who got a free hand to rule over Florence, would make the library project his own.

A bold statement

Ghiberti begins the Commentarii with a bold and daring statement for a Christian man in a Christian world, about how the art of antiquity came to be lost:

The Christian faith was victorious in the time of Emperor Constantine and Pope Sylvester. Idolatry was persecuted to such an extent that all the statues and pictures of such nobility, antiquity an perfection were destroyed and broken in to pieces. And with the statues and pictures, the theoretical writings, the commentaries, the drawing and the rules for teaching such eminent and noble arts were destroyed.

Ghiberti understood the importance of multidisciplinarity for artists. According to him, “sculpture and painting are sciences of several disciplines nourished by different teachings”.

In book I of his Commentarii, Ghiberti gives a list of the 10 liberal arts that the sculptor and the painter should master : philosophy, history, grammar, arithmic, astronomy, geometry, perspective, theory of drawing, anatomy and medecine and underlines that the necessity for an artist to assist at anatomical dissections.

As Amy Bloch underscores, while working on the Gates, in the intense process of visualizing the stories of God’s formation of the world and its living inhabitants, Ghiberti’s engagement « stimulated in him an interest in exploring all types of creativity — not only that of God, but also that of nature and of humans — and led him to present in the opening panel of the Gates of Paradise (The creation of Adam and Eve) a grand vision of the emergence of divine, natural, and artistic creation. »

Lorenzo Ghiberti, Gates of Paradise, Adam and Eve (The Creation of Man).

The inclusion of details evoking God’s craftmanship, says Bloch, « recalls similes that liken God, as the maker of the world, to an architect, or, in his role as creator of Adam, to a sculptor or painter. Teh comparison, which ultimately derives from the architect-demiurge who creates the world in Plato’s Timaeus, appears commonly in medieval Jewish and Christian exegesis. »

Philo of Alexandria wrote that man was modeled « as by a potter » and Ambrose metaphorically called God a « craftsman (artifex) and a painter (pictor) ». Consequently, if man is « the image of God » as says Augustine and the model of the « homo faber – man producer of things », then, according to Salutati, « human affairs have a similarity to divine ones ».

The power of vision and the composition of the Eye

Concerning vision, Ghiberti writes:

I, O most excellent reader, did not have to obey to money, but gave myself to the study of art, which since my childhood I have always pursued with great zeal and devotion. In order to master the basic principles I have sought to investigate the way nature functions in art; and in order that I might be able to approach her, how images come to the eye, how the power of vision functions, how visual [images] come, and in what way the theory of sculpture and painting should be established.

Now, any serious scholar, having worked through Leonardo’s Notebooks, who then reads Ghiberti’s I Commentarii, immediately realizes that most of Da Vinci’s writings were basically comments and contributions about things said or answers to issues raised by Ghiberti, especially respecting the nature of light and optics in general. Leonardo’s creative mindset was a direct outgrowth of Ghiberti’s challenging world outlook.

In the Middle Ages, three geniuses were the sources of medical science: Galen, Avicenna and Hippocrates.

In Commentario 3, 6, which deals with optics, vision and perspective, Ghiberti, opposing those for whom vision can only be explained by a purely mathematical abstraction, writes that “In order that no doubt remains in the things that follow, it is necessary to consider the composition of the eye, because without this one cannot know anything about the way of seeing.” He then says, that those who write about perspective don’t take into account “the eye’s composition”, under the pretext that many authors would disagree.

Ghiberti regrets that despite the fact that many “natural philosophers” such as Thales, Democritus, Anaxagoras and Xenophanes have examined the subject along with others devoted to human health such as “Hippocrates, Galen and Avicenna”, there is still so much confusion.

Indeed, he says, “speaking about this matter is obscure and not understood, if one does not have recourse to the laws of nature, because more fully and more copiously they demonstrate this matter.”


Avicenna, Alhazen and Constantine

Therefore, says Ghiberti:

it is necessary to affirm some things that are not included in the perspective model, because it is very difficult to ascertain these things but I will try to clarify them. In order not to deal superficially with the principles that underlie all of this, I will deal with the composition of the eye according to the writings of three authors, Avicenna (Ibn Sina), in his books, Alhazen (Ibn al Haytham) in his first volume on perspective (Optics), and Constantine (the Latin name of the Arab scholar and physician Qusta ibn Luqa) in his ‘First book on the Eye’; for these authors suffice and deal with much certainty in these subjects that are of interest to us.

This is quite a statement! Here we have “the” leading, founding figure of the Italian and European Renaissance with its great contribution of perspective, saying that to get any idea about how vision functions, one has to study three Arab scientists: Ibn Sina, Ibn al Haytham and Qusta ibn Luqa ! Cultural Eurocentrism might be one reason why Ghiberti’s writings were kept in the dark.

Ibn al-Haytham (Alhazen) made important contributions to opthalmology and improved upon earlier conceptions of the processes involved in vision and visual perception in his Treatise on Optics (1021), which is known in Europe as the Opticae Thesaurus. Following his work on the camera oscura (darkroom) he was also the first to imagine that the retina (a curved surface), and not the pupil (a point) could be involved in the process of image formation.

Avicenna, in the Canon of Medicine (ca. 1025), describes sight and uses the word retina (from the Latin word rete meaning network) to designate the organ of vision.

Later, in his Colliget (medical encyclopedia), Ibn Rushd (Averroes, 1126-1198) was the first to attribute to the retina the properties of a photoreceptor.

Avicenna’s writings on anatomy and medical science were translated and circulating in Europe since the XIIIth century, Alhazen’s treatise on optics, which Ghiberti quotes extensively, had just been translated into Italian under the title De li Aspecti.

It is now recognized that Andrea del Verrocchio, whose best known pupil was Leonardo da Vinci (1452-1517) was himself one of Ghiberti’s pupils. Unlike Ghiberti, who mastered Latin, neither Verrocchio nor Leonardo mastered a foreign language.

What is known is that while studying Ghiberti’s Commentarii, Leonardo had access in Italian to a series of original quotations from the Roman architect Vitruvius and from Arab scientists such as Avicenna, Alhazen, Averroes and from those European scientists who studied Arab optics, notably the Oxford Fransciscans Roger Bacon (1214-1294), John Pecham (1230-1292) and the Polish monk working in Padua, Erazmus Ciolek Witelo (1230-1275), known by his Latin name Vitellion.

Vitellion’s diagram of binocular vision

As stressed by Professor Dominque Raynaud, Vitellion introduces the principle of binocular vision for geometric considerations.

He gives a figure where we see the two eyes (a, b) receiving the images of points located at equal distance from the hd axis.

He explains that the images received by the eyes are different, since, taken from the same side, the angle grf (in red) is larger than the angle gtf (in blue). It is necessary that these two images are united at a certain point in one image (Diagram).

Where does this junction occur? Witelo says: « The two forms, which penetrate in two homologous points of the surface of the two eyes, arrive at the same point of the concavity of the common nerve, and are superimposed in this point to become one ».

The fusion of the images is thus a product of the internal mental and nervous activity.

The great astronomer Johannes Kepler (1571-1630) will use Alhazen’s and Witelo’s discoveries to develop his own contribution to optics and perspective. “Although up to now the [visual] image has been [understood as] a construct of reason,” Kepler observes in the fifth chapter of his Ad Vitellionem Paralipomena (1604), “henceforth the representations of objects should be considered as paintings that are actually projected on paper or some other screen.” Kepler was the first to observe that our retina captures an image in an inverted form before our brain turns it right side up.

Out of this Ghiberti, Uccello and also the Flemish painter Jan Van Eyck, in contact with the Italians, will construct as an alternative to one cyclopic single eye perspective revolutionary forms of “binocular” perspective while Leonardo and Louis XI’ court painter Jean Fouquet will attempt to develop curvilinear and spherical space representations.

What « appears » as a construction « error » of a central vanishing point perspective, is in realty a « binocular » perspective construction.
Jan van Eyck, The Canon Van der Paele, Groeningemuseum, Bruges. What appears at first glance to be a « fishbone perspective » (left) (dixit Panofsky), is explained by a binocular perspectivist method inspired by Arabic natural scientists.

In China, eventually influenced by Arab optical science breakthrough’s, forms of non-linear perspective, that integrate the mobility of the eye, will also make their appearance during the Song Dynasty.

Light

Ghiberti will add another dimension to perspective: light. One major contribution of Alhazen was his affirmation, in his Book of Optics, that opaque objects struck with light become luminous bodies themselves and can radiate secondary light, a theory that Leonardo will exploit in his paintings, including in his portraits.

Already Ghiberti, in the way he treats the subject of Isaac, Jacob and Esau (Figure), gives us an astonishing demonstration of how one can exploit that physical principle theorized by Alhazen. The light reflected by the bronze panel, will strongly differ according to the angle of incidence of the arriving rays of light. Arriving either from the left of from the right side, in both cases, the Ghiberti’s bronze relief has been modeled in such a way that it magnificently strengthens the overall depth effect !

While the experts, especially the neo-Kantians such as Erwin Panofsky or Hans Belting, say that these artists were “primitives” because applying the “wrong” perspective model, they can’t grasp the fact that they were in reality exploring a far “higher domain” than the mere pure mathematical abstraction promoted by the Newton-Galileo cult that became the modern priesthood ruling over “science”.

Much more about all of this can and should be said. Today, the best way to pay off the European debt to “Arab” scientific contributions, is to reward not just the Arab world but all future generations with a better future by opening to them the “Gates of Paradise”.

See all of Ghiberti’s works at the WEB GALLERY OF ART

Short Biography

  • Arasse, Daniel, Léonard de Vinci, Hazan, 2011;
  • Avery, Charles, La sculpture florentine de la Renaissance, Livre de poche, 1996, Paris;
  • Belting, Hans, Florence & Baghdad, Renaissance art and Arab science, Harvard University Press, 2011;
  • Bloch, Amy R., Lorenzo Ghiberti’s Gates of Paradise; Humanism, History and Artistic Philosophy in the Italian Renaissance, Cambridge University Press, 2016, New York;
  • Borso, Franco et Stefano, Uccello, Hazan, Paris, 2004 ;
  • Butterfield, Andrew, Verrocchio, Sculptor and painter of Renaissance Florence, National Gallery, Princeton University Press, 2020 ;
  • Butterfield, Andrew, Art and Innovation in Ghiberti’s Gates of Paradise, High Museum of Art, Yale University Press, 2007;
  • Kepler, Johannes, Paralipomènes à Vitellion, 1604, Vrin, 1980, Paris;
  • Krautheimer, Richard and Trude, Lorenzo Ghiberti, Princeton University Press, New Jersey, 1990;
  • Martens, Maximiliaan, La révolution optique de Jan van Eyck, dans Van Eyck, Une révolution optique, Hannibal – MSK Gent, 2020.
  • Pope-Hennessy, John, Donatello, Abbeville Press, 1993 ;
  • Radke, Gary M., Lorenzo Ghiberti: Master Collaborator; The Gates of Paradise, Lorenzo Ghiberti’s Renaissance Masterpiece, High Museum of Atlanta and Yale University Press, 2007;
  • Rashed, Roshi, Geometric Optics, in History of Arab Sciences, edited by Roshdi Rashed, Vol. 2, Mathematics and physics, Seuil, Paris, 1997.
  • Raynaud, Dominique, L’hypothèse d’Oxford, essai sur les origines de la perspective, PUF, 1998, Paris.
  • Raynaud, Dominique, Ibn al-Haytham on binocular vision: a precursor of physiological optics, Arabic Sciences and Philosophy, Cambridge University Press (CUP), 2003, 13, pp. 79-99.
  • Raynaud, Dominique, Perspective curviligne et vision binoculaire. Sciences et techniques en perspective, Université de Nantes, Equipe de recherche: Sciences, Techniques, et Sociétés, 1998, 2 (1), pp.3-23.;
  • Vereycken, Karel, interview with People’s Daily: Leonardo Da Vinci’s « Mona Lisa » resonates with time and space with traditional Chinese painting, 2019.
  • Vereycken, Karel, Uccello, Donatello, Verrocchio and the art of military command, 2022.
  • Vereycken, Karel, The Invention of Perspective, Fidelio, 1998.
  • Vereycken, Karel, Van Eyck, un peintre flamand dans l’optique arabe, 1998.
  • Vereycken, Karel, Mutazilism and Arab astronomy, two bright stars in our firmament, 2021.
  • Walker, Paul Robert, The Feud That Sparked the Renaissance, How Brunelleschi and Ghiberti changed the World, HarperCollins, 2002.
Merci de partager !

Mutazilism and Arab astronomy, two bright stars in our firmament

By Karel Vereycken

(texte original en français)

“The ink of the scholar is holier than the blood of the martyr.”
“Seek knowledge from the Cradle to the Grave.”
“Seek knowledge even as far as China.”

Sayings (Hadith) most often attributed to the Prophet.

PROLOGUE

We live in a time of cruel stupidity. While the history of civilization is characterized by multiple cultural contributions allowing an infinite and magnificent mutual enrichment, everything is done to dehumanize us.

By dint of media coverage of the most extreme crimes, notably by claiming that such and such an abject or barbaric act has been committed « in the name » of such and such a belief or religion, everything is done to set us against each other. If we do not react, the famous thesis of a « Clash of Civilizations », concocted by the British Islamologist Bernard Lewis (Henry Kissinger’s, Zbigniew Brzezinski’s and Samuel Huntington’s mentor) as an evil tool of geopolitical manipulation, will become a self-fulfilling prophecy.

INTRODUCTION

In order to combat prejudices and dangerous misunderstandings about “Islam” (with 1.6 billion believers a non-negligible part of the world’s population), here follows a brief overview of the major contributions of the Arab-Muslim civilization.

By recalling two major contributions of the “Golden Age” of Islam, notably Arab astronomy and mutazilism, what is at stake here is the recognition that –just like Memphis, Thebes, Alexandria, Athens and Rome– Baghdad, Damascus and Cordoba were major crucibles of a universal civilization which is ours today.

While Europe has come to recognize that the invention of printing took place in China long before Gutenberg, and that America was visited way before Christopher Columbus, consensus and group think keeps repeating that the Arabs contributed nothing to the progress of science.

In the 1300 years separating the Greek astronomer from Alexandria, Claudius Ptolemy (ca. 100-178 AD) from the Polish Nicolaus Copernicus (1473-1543), they pretend, nothing but “a black hole”.

In 1958, in his book The Sleepwalkers, British Hungarian writer Alfred Koestler, who helped Sydney Hook to co-found the CIA’s cultural cold war front, the Congress for Cultural Freedom, epitomized western arrogance, writing:

the Arabs had merely been the go-betweens, preservers and transmitters of the heritage. They had little scientific originality and creativeness of their own. During the centuries when they were the sole keepers of the treasure, they did little to put it to use. (…) and by the fifteenth century, the scientific heritage of Islam had largely been taken over by the Portuguese Jews. But the Jews, too, were no more than go-betweens, a branch of the devious Gulf-stream which brought back to Europe its Greek and Alexandrine heritage, enriched by Indian and Persian additions.

Nothing is more false. Definitely, one must be born on the right spot to be allowed to have a seat in the train of history…

Copernicus himself, unlike Koestler, was perfectly familiar with Arab astronomy. In 1543, in his De Revolutionibus, he quotes several Arab scientists, more precisely Al-Battani, al-Bitruji, al-Zarqallu, Ibn Rushd (Averroes) and Thabit ibn Qurra. Copernicus also refers to al-Battani in his Commentariolus, a manuscript published posthumously. Later, the great Johannes Kepler (1571-1630) would also refer to Ibn Al-Haytam in his work on optics.

In reality, Copernicus and even more Kepler, whose creative genius cannot be overrated, came up with answers to questions raised by several generations of Arab astronomers preceding them and whose contribution remains largely ignored and even worse, unexplored. To this day, with about 10,000 manuscripts preserved throughout the world, a large part of which has still not been the subject of a bibliographic inventory, the Arab astronomical corpus constitutes one of the best preserved components of medieval scientific literature waiting to be rediscovered.

Science and religion versus slavery

Miniature of emancipated slave Bilal, Islams first Muezzin.

Before examining the contributions of Arab astronomy, a few words about the intimate link between Islam and the development of science.

According to tradition, it was in 622 AD that the Prophet Muhammad and his companions left Mecca and set out for a simple oasis that would become the city of Medina.

If this event is known as the “Hegira”, an Arabic word for emigration, break-up or exile, it is also because Mohammad broke with a societal model based on blood ties (clan organization), in favor of a model of a shared destiny based on belief. In this new religious and societal model, where each person is supposed to be a “brother,” it is no longer permissible to abandon the poor or the weak as was the case before.

The powerful clans in Mecca did everything they could to eliminate this new form of society, which diminished their influence.

The “Medina Constitution” allegedly proclaimed equality among all believers, whether they were free men or slaves, Arabs or non-Arabs.

The Koran advocates strict equality between Arabs and non-Arabs in accordance with the Prophet, who said, in his farewell address:

“There is no superiority of an Arab over a non-Arab, or of a non-Arab over an Arab, and no superiority of a white person over a black person or of a black person over a white person, except on the basis of personal piety and righteousness.”

(Reported by Al-Bayhaqi and authenticated by Shaykh Albani in Silsila Sahiha no. 2700).

Hence, if after the Prophet’s passing away, slavery and slave trade became a common practice in close to all Muslim countries, he cannot be held accountable. Zayd Ibn Harithah, according to tradition, after having been the slave of Khadija, Muhammad’s wife, was freed and even adopted by Muhammad as his own son.

For his part, Abu Bakr, Muhammad’s companion and successor as the first Caliph (Arab word for “successor”), also freed Bilal ibn-Raba, the son of a former Abyssinian princess who had been enslaved. Bilal, who had a magnificent voice, was even appointed the first muezzin, that is to say the one who calls for prayer five times a day from the top of one of the mosque’s minarets.

The Sultan Ahmed Mosque, popularly known as the Blue Mosque, in Mazar-e-Sharif, Balkh Province, Afghanistan.

Among the first verses revealed to the Prophet Muhammad one finds :

Read! And your Lord is the Most Generous,
Who taught by the pen — Taught man that which he knew not.”

(Surat 96).

The Prophet also states,

The best among you (Muslims) are those who learn the Koran and teach it.”

Other sayings, often attributed to the Prophet, clearly invite Muslims to seek knowledge and cherish science :

The ink of the scholar is more sacred than the blood of the martyr”.
Seek knowledge from the Cradle to the Grave”.
Seek knowledge even as far as China”.

Historical center of Samarkand (Ouzbekistan). The Registan and its three madrasahs.
Astronomical and mathematical notations. Manuscript page from Timbuktu.

The mosque is therefore much more than a place of worship, it is a school of all sciences, where scholars are trained. It serves as a social and educational institution: it may be completed with a madrassa (Koranic school), a library, a training center, or even a university.

As in most religions, in Islam, practices and rituals are punctuated by astronomical events (years, seasons, months, days, hours). Every worshipper must pray five times a day at times that vary depending on where he or she is on Earth: at sunrise (Ajr), when the sun is at its zenith (Dhohr), in the afternoon (Asr), at sunset (Magrib) and at the beginning of the night (Icha). Astronomy, as a spiritual occasion to fine-tune one’s earthly existence according to the harmony of the Heavens, is omnipresent.

As an example, to underscore its importance, July 16, 622 AD, the first day of the lunar year, was declared the first day of the Hegira calendar. And during the eclipse of the sun, mosques host a special prayer.

Islam encourages Muslims to guide themselves by the stars. The Koran states :

And He is the One who made the stars for you
to guide you with them in darkness of the land and the sea”.

With such an incentive, early Muslims could not but feel compelled to perfect astronomical and navigational instruments. As a result, today more than half of the stars used for navigation bear Arabic names. It was only natural that the faithful constantly tried to improve astronomical calculations and observations.

The first reason to do so is that during the Muslim prayer, the worshipper has to prostrate himself in the direction of the Kaaba in Mecca, so he has to know how to find this direction wherever he is on Earth. And the construction of a mosque will be decided according to the same data.

The second reason is the Muslim calendar. The Koran states :

The number of months in the sight of Allah is twelve (in a year)-
so ordained by Him the day He created the heavens and the earth;
of them four are sacred: that is the straight usage.”

Clearly, the Muslim calendar is based on the lunar months, which are approximately 29.5 days long. But 12 times 29.5 days is only 345 days in the year. This is far from the 365 days, 6 hours, 9 minutes and 4 seconds that measure the duration of the rotation of the Earth around the Sun…

Finally, a last challenge was posed by the interpretation of the lunar movement. The months, in the Muslim religion, do not begin with the astronomical new moon, defined as the moment when the moon has the same ecliptic longitude as the sun (it is therefore invisible, drowned in the solar albedo); the months begin when the lunar crescent starts to appear at dusk.

The Koran says: “(Muhammad), they ask you about the different phases of the moon. Tell them that they are there to indicate to people the phases of time and the pilgrimage season.”

For all these reasons, the Muslims could not be satisfied with either the Christian or the Hebrew calendar, and had to create a new one.

Spherical geometry

In order to forecast the phases of the moon, new methods of calculation and new instruments capable of observing them were required. The calculation of the day when the crescent moon starts to become visible again was a formidable challenge for the Arab scholars. To predict this day, it was necessary to be able to describe its movement in relation to the horizon, a problem whose resolution belongs to a rather sophisticated spherical geometry.

It was the determination of the direction of Mecca from a given location and the time of prayers that led the Muslims to develop such geometry. To solve these problems, it is necessary to know how to calculate the side of a spherical triangle of the celestial sphere from its three angles and the other two sides; to find the exact time, for example, it is necessary to know how to construct the triangle whose vertices are the zenith, the north pole, and the position of the Sun.

The field of astronomy has strongly stimulated the birth of other sciences, in particular geometry, mathematics, geography and cartography. Some people like to recall that Platonists and Aristotelians were arguing about rather abstract concepts, each of them believing that reason was sufficient to understand nature. Arab astronomy, on the other hand, played a decisive role in the emergence of a true scientific method by verifying the various hypotheses, by building measuring instruments and astronomical observatories and by rigorously recording observations over many years.

MUTAZILISM

Socrates discussing philosophy with his disciples,
Arabic miniature from a manuscript, Turkey 13th Century.

The question then arises as to where this infatuation with science and astronomy could have come from, in a culture essentially centered on religion?

A first answer comes from the fact that in the 8th century, shortly after the birth of Sunnism (656), Kharidjism (657) and Shi’ism (660), but independently of these currents, a school of Muslim theological and philosophical thought appeared, founded by the revolutionary theologian Wasil ibn Ata (700-748), a current known as “mutazilism” (or motazilism), branded in the West as “the rationalists” of Islam. One explanation of its name came from the fact that the mutazili refused to take part in the internal strife inside factions using theological interpretations for earthly power, the arab word iʿtazala meaning “to withdraw”.

Wasil was born in Medina in the Arabian Peninsula and moved to Basra, now in Iraq. From there he formed an intellectual movement that spread all over the Arab-Muslim world. Many of his followers were merchants and non-Arabs (mawâlî) from Iranian or Aramaic “converted” families, victims of the Omayyad dynasty’s discriminating policies between Arabs and non-Arabs. This hypothesis is sufficient to back the claim of a Mutazilite participation in the overthrow of the Omayyad and that dynasty’s replacement with the Abbasid.

In a clear break with dualistic cosmology (Mazdeism, Zoroastrianism, Manichaeism, etc.), Mutazilism insists on the absolute unity of God, conceived as an entity outside time and space. For them, there is a close relationship between the unity of the Muslim community (Ummah) and the worship of the Lord. The Mutazilites are closely inspired by the Koran, and it is quite wrong to present them as the “free thinkers” of Islam.

However, “we reject faith as the only way to religion if it rejects reason,” the Mutazilite saying goes. Relying on reason (the logos dear to the Greek thinkers Socrates and Plato), which it considers compatible with Islamic doctrines, Mutazilism affirms that man can, outside of any divine revelation, access knowledge.

Just as Augustine, a christian, emphasized man can advance on the path of truth, not only through the Gospel (revelation), but by reading “the Book of Nature”, a reflection and foretaste of divine wisdom. One book of the Bible, The Book of Wisdom, recognizes that

For from the greatness and the beauty of created things
their original author,
by analogy, is seen.

(Book of Wisdom, 13:5)

The Mutazilites differed from their opponents in their teaching that God has endowed man with reason specifically so that he can come to know the moral order in creation and its Creator; that is what reason is for. Reason is central to man’s relationship to God.

In the Fundamentals, the great Mutazilite theologian Abdel al Jabbar Ibn Ahmad (935-1025), whose texts were discovered only in the 1950’s by Egyptian scholars in a mosque in Yemen, begins by positing the primary duty to reason: « If it is asked: What is the first duty that God imposes you? Say to him: Speculative reasoning which leads to knowledge of God, because He is not known intuitively or by the senses. Thus, He must be known by reflection and speculation ».

Therefore, Reason logically precedes revelation. Reason first needs to establish the existence of God before undertaking the question as to whether God has spoken to man. Natural theology mus be antecedent to theology.

Al Jabbar says: « The stipulates of revelation concerning what we should say and do are no good until after there is knowledge of God, » which knowledge comes from reason. « Therefore, » he concludes, « it is incumbent on me to establish His existence and to know Him so that I can worship Him, give Him thanks and do what satisfies Him and avoid disobedience toward Him ».

How does Reason lead man to the conclusion of God’s existance? It is through the observation of the ordered universe that man first comes to know that God exists, says Al Jabbar. As he sees hat nothing in the world is its own cause, but is caused by something else, man arrives at the contingent nature of creation. From there, man reasons to the necessity of a Creator, an uncaused cause.

The concept of an inherent nature in things (tab’) means that God, though he is the First Cause, acts indirectly through secondary causes, such as the physical law of gravity. In other words, God does not immediately or directly do everything. He does not make a rock fall; gravity does. God allows some autonomy in his creation, which has its own set of rules, according to how it was made.

As Mutazilite writer and theologian Uthman al-Jahiz (765-869) stated, every material element has it own nature. God created each thing with a nature according to which it consistently behaves. The unsupported rock will always fall where there is gravitational pull. These laws of nature, then, are not an imposition of order from without by a commander-in-chief, but an expression of it from within the very essence of things, which have their own integrity. Creation is possessed of an intrinsic rationality from the Creator. That is why and how man is able to understand God’s Reason as manifested in his creation (This does not discount God’s ability to supercede natural laws in the case of a miracle). From that standpoint, the act of discovery of the nature and beauty of things, by each human individual, brings him closer to God.

Hence, Muzatilism gives human reason (the faculty of thinking) and freedom (the faculty of acting) a place and importance not only unknown in other trends of Islam but even in most philosophical and religious currents of the time. Against fatalism (“mektoub!” = it was written!), which was the dominant tendency in Islam, mutazilism affirms that the human being is responsible for his acts.

More than five centuries before Erasmus, Mutazilite faith and philosophy offered already the foundations to solve most of the sterile theological disputes that would destroy the Renaissance and throw Europe in the abyss of self-destruction known as the “wars of religion”.

Here are the five Fundamentals (Principles), described by Abdel al Jabbar and summarized in 2015 by economist Nadim Michel Kalife:

Monotheism (Al Tawhid) whose concept of God is beyond the simple intellect of the human mind. That is why the verses of the Koran describing God “sitting” on a throne should be interpreted only allegorically and not literally. Hence the Mutazilites called their opponents anthropomorphists who sought to reduce God who is unknowable to a human appearance. And they concluded that this one detail (!) of the Koran is sufficient to prove that the Koran is not “uncreated” but “created” by Allah, via man, to make it accessible to the believer, and therefore, that it can and should evolve and adapt according to the times and circumstances ;

Divine justice (Adl) is about the origin of evil in our world where God is all-powerful. Mutazilism proclaims free will, where evil is man’s doing and not God’s will, because God is perfect and therefore cannot do evil or determine man to do it. And, if human wrongdoings were the will of God, punishment would lose all meaning since man would be doing nothing but respecting the divine will. This unquestionable logic allowed Mutazilism to refute predestination and the « mektoub » of the Sunni schools;

Promise and threat (al-Wa’d wa al-Wa’id): this principle concerns the judgment of man at his death and that of the last judgment where God will reward the obedient in the heavenly paradise, and punish those who disobeyed him by damning them eternally in the fires of hell;

The intermediate degree (al-manzilatu bayn al-manzilatayn), the first principle opposing Mutazilism to the Sunni schools. A great sinner (murder, theft, fornication, false accusation of fornication, drinking alcohol, etc. ) should be judged neither as a Muslim (as Sunnism thinks) nor as a disbeliever or kâfir (as the Kharidjites think), but considered in an intermediate degree from which, when he dies, he will go to hell if he failed to be redeemed by God’s mercy ;

To order the good and blame the blameworthy (al-amr bil ma’ruf wa al-nahy ‘an al munkar): this principle authorizes even rebellion against authority when it is unjust and illegitimate, to prevent the victory of evil over all. This principle attracted the hatred of the ulama (theologians) and imams (predicators) who saw it as a manouver to weaken their own authority over the faithful. And the Seljuk Turks considered it a serious danger since it called into question their power… over the Arabs.

Mutazilism under the Abbasid

Abbasid Caliphate, 786 to 1194.
Caliph with his advisors. Maqamat of al-Hariri Illustration by Yahyá al-Wasiti, 1237.

In Baghdad, it was with the rise of the Abbasid Caliphate in 749 that Mutazilism gained influence, first under the Caliph Hâroun al-Rachîd (765-809) (“Aaron the Well-Guided”) and then under his son, Al-Ma’mûn (786-833) (“The one to be trusted”). Shortly before his death in 833, the latter made Mutazilism the official doctrine of the Abbasid Empire.

This was too much for the conservative ulama and imams who rebelled against the Caliph’s enlightened vision that created a space for secular society and limited their grip over society. Faced with the revolt, the Abbasid administration (made up largely of Persians), which was won over to Mutazilism, carried out a ruthless crackdown on Sunni (Arab) clerics for fifteen years, from 833 to 848. This bloody persecution left an increasingly bitter taste in people’s minds, especially when the Abbasid power refused to release Muslim prisoners in the hands of the Byzantines if they did not renounce the dogma of the “uncreated” nature of the Koran…

Finally, in 848, Caliph Jafar al-Mutawakkil (847-861), changed course completely and asked the traditionalists to preach hadiths according to which Muhammad had condemned the Mutazilites and their supporters.

Dialectical theology (Kalâm) was banned and the Mutazilites were not any longer welcome at the Baghdad court. This was also the end of the spirit of tolerance and the return of persecution against Christians and Jews. If the craze for science continued, Mutazilism disappeared with the fall of the Abbasids and the destruction of Baghdad by the Mongols in the 13th century.

Mutazilism also influenced Judaism. The Kitab Al-Amanat Wa’l-I’tiqadat – that is, the Book of Beliefs and Opinions – by the tenth-century Jewish rabbinic scholar Saadia Gaon (882-942), who lived in Baghdad, draws its inspiration from Christian theological literature as well as from Islamic models. The Kitab al-Tawhid, the Book of Divine Unity, by Saadia’s Karaite contemporary, Jacob Qirqisani (d. 930), is unfortunately lost.

This makes the German Islamologist Sabine Schmidtke say:

The new tradition of Jewish rational thought that emerged in the course of the ninth century was, in its initial phase, mainly informed by Christian theological literature, both in its content and methodology. Increasingly, specifically Mutazilite Islamic ideas, such as theodicy [*1] and human free will, as well as the emphasis on the oneness of God (tawhid), resonated among Jewish thinkers, many of whom eventually adopted the entire doctrinal system of the Mutazila. The now emerging ‘Jewish Mutazila’ dominated Jewish theological thought for centuries to come.

Brothers in Purity

A Brother in Purity (1287, Epistles of the Brothers in Purity, Süleymaniye Library, Istanbul)

Also worth mentioning in this context, are the Epistles of the Brothers in Purity (Ikwân al-Safâ), an encyclopedia of 52 epistles (dealing with mathematics, natural sciences, rational sciences and theological sciences), composed between the beginning of the ninth and the end of the tenth century and containing common knowledge. The text will be promoted by the Ismailis, an esoteric branch of shiite islam strongly contesting the ruling powers of that time. Produced in Basra, in present-day Iraq, the book, neo-platonic in character, is a collective work. As for the authors, designated under the mysterious name of Brothers of Purity, they belonged to a brotherhood of sages and intellectuals who met regularly to organize sessions of discussion, readings and recitation. Its followers considered that knowledge was an indispensable condition for any spiritual and mystical elevation. Its avant-garde character is apparent in its hymn to tolerance advocating a plurality of paths to salvation. Some experts believe that the Epistles of the Brothers in Purity are the work of a high-level Pythagorean philosopher, a disciple of the mutazilist platonic, al-Kindi.

Leaving aside, therefore, the errors that were very real, it has to be recognized and underscored that the optimistic philosophical vision of Mutazilism (reason, free will, responsibility, perfectibility of man) strongly contributed to the emergence of a true « golden age » of Arab culture and sciences.

The total number of muslim scientists in the 9th Century was larger that the non-muslim scientists in the 15th Century.

Finally, it is not uninteresting to note that today, “neo-Mutazilite” currents are appearing in reaction to obscurantist doctrines and the barbaric acts they provoke. For the Egyptian reformist thinker Ahmad Amin, “the death of mutazilism was the greatest misfortune that befell Muslims; they committed a crime against themselves.”

Bagdad

Artist view of ancient Bagdad. Note the canal that runs through the city and allows it to be integrated into the natural infrastructure of the Tigris River. In reality, the surrounding area was urbanized.

In 762, the second Abbasid caliph Al-Mansur (714-775) (“the victorious”) began construction of a new capital, Baghdad. Called Madinat-As-Salam (City of Peace), it houses the court palace, the mosque and the administrative buildings. Built on a circular plan, it is inspired by previous traditions, notably the one that gave birth to the Iranian city of Gur (current name: Firouzabad).

We are in the heart of fertile Mesopotamia, the “land between the rivers”, essentially the Euphrates and the Tigris, both of which have their source in Turkey. It is here that the Sumerians invented irrigation, agriculture (cereals and livestock) [*2], and writing (3400 years BC), starting in the 10th millennium BC.

Baghdad, a powerful and refined city, reigned over the entire East and became the capital of the Arab world. Crossed by the Tigris River, populated today by some 10 million inhabitants, it remains the largest city in Iraq as well as the second most populated city in the Arab world (behind Cairo in Egypt).

Minaret of the Grand mosque of Samarra that many Westerners believed to be the Tower of Babel…

The Abbasid cities were built on huge sites. The palaces and mosques of Samarra, the new capital from 836, stretch along the banks of the Tigris for 40 kilometers. To match the scale of the sites, monumental buildings were erected, such as the Abu Dulaf Mosque or the Great Mosque of Samarra, which had no equivalent elsewhere. Its curious spiral minaret (52 meters high) inspired in the following centuries the Western representations of the Tower of Babel.

Moreover, by relying on an extremely disciplined and obedient army from Khorassan (a region in north-eastern Iran) [*3], as well as on an elaborate system of stagecoaches and mail distribution, the Abbasid rulers managed to increase their hold on the provincial governors. The latter, who in the time of the Omayyad caliphs paid little tax on the pretext that they had to spend locally for the defense of the caliphate’s borders, now had to pay the taxes imposed by the ruler.

The New “Paper” Road

Thanks to high quanlity paper, arab astronomical research survived.

After the military victory against the Chinese in the battle of Talas (a city in present-day Kyrgyzstan) in 751, the year that marked the most eastern advance of the Abbasid armies, Baghdad opened up to Chinese and Indian cultures.

The Abbasid quickly assimilated a number of Chinese techniques, in particular paper-making, an art developed in Samarkand (capital of Sogdiana, now in Uzbekistan), another stopover city on the Silk Roads. The craftsmen of this city smoothed the paper with an agate stone. The resulting extremely smooth and shiny surface absorbed less ink and as a result, both sides of the same sheet became usable. The Chinese, who had invented silk paper, did not need to smooth their paper because they wrote with brushes and not with pens.

Hâroun al-Rachîd was very interested in the industrial production of paper. He ordered the use of paper in all the administrations of the Empire: it is easier to manufacture, less expensive and more secure than silk, because one cannot easily erase what is written on it. He developed the paper factories of Samarkand and established similar ones in Baghdad, Damascus and Tiberias around 1046 – the paper of Tripoli or Damascus was then referred to, and its quality was considered better than that of Samarkand – in Cairo before 1199, where it was used as a packaging for goods, and in Yemen at the beginning of the 13th century. At the same time, several paper factories were established in North Africa. There were 104 paper factories in Fez, Morocco, before 1106, and 400 paper mills between 1221 and 1240. They will emerge in Andalusia, Spain, in Jativa near Valencia in 1054 and in Toledo in 1085.

Agro-industrial revolution

Watermill in Cordoba, Spain.
Floating watermill, to be attached with cables in a strong current.

The first Abbasid caliphs led the economic transition from the Umayyad model of tribute, booty or the sale of slaves to an economy based on agriculture, manufacturing, trade and taxes. The introduction of more energy dense modes of technologies modes of energy (compared to the former ones), will revolutionize irrigation and agriculture:

–Construction of canals ensuring irrigation and limiting flooding;
–Construction of dams and the exploitation of the mechanical energy they produce;
–Construction of water mills;
–Use of tidal energy;
–Construction of windmills;
–Distillation of kerosene used as fuel for lamps and used since. [*4]

Ancient wind mills in Persia

Industrial uses of water mills in the Islamic world date back to the 7th century. During the time of the Crusades, all provinces of the Islamic world had operating mills, from al-Andalus and North Africa to the Middle East and Central Asia.

These mills performed various agricultural and industrial tasks.

When Erasmus’ follower Cervantes’ Don Quichote starts attacking the windmills of La Mancha, a Spanish region where Arab influence was notable, he not only ironially mocks the cult of chivalry, but also the insane undertaking called the crusades.

Irrigation, inherited from the ancient world (floods of the Nile in Egypt, canals in Mesopotamia, pendulum wells (shadoof), water wheels used to raise water (noria), dams in Transoxiana, Khuzistan and Yemen, underground galleries at the foot of the mountains in Iran (qanat) or in the Maghreb (khettara), is organized thanks to a solid community organization and the intervention of the State.

Abbasid artisans and engineers will develop machines (such as pumps) incorporating crankshafts and use gears in mills and water-lifting machines. They will also use the dams to provide additional power to watermills and water-lifting machines. Such advances will allow the mechanization of many agricultural and industrial tasks and free up the workforce for more creative occupations.

At its peak in the tenth century, Baghdad had a population of 400,000 to 500,000. Its food survival depended entirely on an ingenious system of canals for the irrigation of crops and the management of the recurring floods of the Euphrates and Tigris. Example: the Nahrawan canal, parallel to the Tigris, which allowed the waters of the Tigris to be diverted to protect the capital from flooding.

Agricultural production gains in diversity : cereals (wheat, rice), fruits (apricots, citrus fruits), vegetables, olive oil (Syria and Palestine), sesame (Iraq), roe, rapeseed, flax or castor oil (Egypt), wine production (Syria, Palestine, Egypt), dates, bananas (Egypt), sugar cane.

Breeding remains important for food, for the supply of raw materials (wool, leather) and for transport (camels, dromedaries, horses). Sheep are present everywhere but buffalo farming is developing (marshes of lower Iraq or Orontes). Small poultry, pigeon and bee farms are in high demand. The people’s diet is predominantly vegetarian (rice cake, wheat porridge, vegetables and fruits).

A number of industries will emerge from this agro-industrial revolution, including the first textile factories, the production of ropes, silk and, as noted above, the manufacture of paper. Finally, metalworking, glassware, ceramics, tooling and crafts also experience high levels of growth during this period.

Charlemagne, Baghdad and China

Charlemagne receiving elephant, camel and other gifts sent to him by Hâroun al-Rachîd.

Finally, in the eighth and ninth centuries, seeking to counter the Omayyad and the Byzantine Empire, Abbasid and Carolingian Franks conclude several agreements and alliances.

Three diplomatic missions were sent by Charlemagne to the court of Hâroun al-Rachîd and the latter sent at least two embassies to Charlemagne. The caliph sent him many gifts, such as spices, fabrics, an elephant and an automatic clock, described in the Frankish Royal Annals of 807. It marked the 12 hours with copper balls falling on a plate at each hour, and also had twelve horsemen who appeared in turn at the same intervals.

The same caliph sent a diplomatic mission to Chang’an (now called Xi’an), capital of the Tang dynasty. Chang’an being the eastern terminus of the Silk Road, the western market of Chang’an became the center of world trade. According to the record of the Tang Six Authority, more than 300 nations and regions had trade relations with Chang’an.

Maritime Silk Road

These diplomatic relations with China were contemporary with the maritime expansion of the Muslim world into the Indian Ocean and the Far East. Apart from the Nile, Tigris and Euphrates, navigable rivers were uncommon, so transport by sea was very important. The ships of the caliphate began to sail from Siraf, the port of Basra, to India, the Straits of Malacca and Southeast Asia.

Arab merchants dominated trade in the Indian Ocean until the arrival of the Portuguese in the 16th century. Hormuz was an important center for this trade. There was also a dense network of trade routes in the Mediterranean, along which Muslim countries traded with each other and with European powers such as Venice or Genoa.

The Silk Road crossing Central Asia passed through the Abbasid caliphate between China and Europe. At that time, Canton, or Khanfu in Arabic, a port of 200,000 people in southern China, had a large community of traders from Muslim countries. And when the Chinese Emperor Yongle decided to send his famous flotilla of ships to Africa, he chose Admiral Zheng He (1371-1433), a court eunuch who was born a Muslim. And when in 1497 the Portuguese captain Vasco da Gama reached the Kenyan city of Malindi, he was able to obtain an Arab pilot who took him directly to Kozhikode (Calicut) in India. In short, a sailor who knew how to navigate on the stars.

Scientific and cultural renaissance

Thus, it is under the caliphate of Hâroun al-Rachîd and his son Al-Ma’mûn, that Baghdad and the Abbasids will experience a real golden age, both in the sciences (philosophy, astronomy, mathematics, medicine, etc.) and in the arts (architecture, poetry, music, painting, etc.). For the British writer Jim Al-Khalili, “the fusion of Greek rationalism and Mutazilite Islam will give rise to a humanist movement of a type that will hardly be seen before 15th century Italy.”

In the field of sciences, an assimilation of Hellenistic, Indian and Persian astronomical doctrines took place very early. Several Sanskrit [*5] and Pehlevi [*6] writings were translated into Arabic.

Indian works by the astronomer Aryabhata (476-560), a prominent scientist of the Indian Gupta Renaissance, and the mathematician Brahmagupta (590-668) were cited early on by their Arabic counterparts. A famous translation into Arabic appeared around 777 under the title Zij al-Sindhind (or Indian Astronomical Tables). Sources indicate that this text was translated after the trip of an Indian astronomer invited to the court of the Abbasid caliph Al-Mansur in 770. The Arabs also adopted the sines (inherited from Indian mathematics) which they preferred to the chords used by Greek astronomers. From the same period, a collection of astronomical chronicles compiled over two centuries in Sassanid Persia and known in Arabic as the Zij al-Shah (or Royal Tables).

In the field of music, the Persian-born Arab musician Ishaq al-Mawsili (767-850), among others, can be mentioned. A composer of about two hundred songs, he was also a virtuoso on the oud (a kind of lute with a short neck but no frets). He is credited with the first system of codification of learned Arabic music.

The death of the Prophet Mohammed. Ottoman miniature painting from the Siyer-i Nebi, kept at the Topkapı Sarayı Müzesi, Istanbul (Hazine 1222, folio 414a) . circa 1595. Ottoman miniature painter 492 Siyer-i Nebi 414a

Respecting the visual arts, let us first stress that, contrary to the prevailing opinion, the Koran does not prohibit figurative images. There is no explicitly stated and universally accepted “ban” on images of living figures in Islamic legal texts. On the other hand, Islam, like other major religions, condemns the worship of idols.

From the eighth to the fifteenth century, numerous historical and poetic texts, both Sunni and Shi’a, many of which appeared in Turkish and Persian contexts, include admirable depictions of the Prophet Muhammad. The purpose of these images was not only to praise and pay homage to the Prophet, but represent occasions and central elements for the practice of Muslim faith.

In this respect, the book by the German art historian Hans Belting with the catchy title Florence & Baghdad, Renaissance Art and Arab Science (2011) is not only misleading but downright outrageous. Belting presents “Islam” as an aniconic faith (banning all human and animal representations), while in reality, besides exquisite calligraphy and geometric patterns in search for the infinite, representations of men and animals are an essential part of Islamic artistic expression.

In addition, other religions have experienced strong outbreaks of iconoclasm. For example, and this is one of the reasons why so little is known about ancient Greek painting, between 726 and 843, the Byzantine Empire ordered the systematic destruction of images representing Christ or the saints, whether they were mosaics adorning church walls, painted images or book illuminations.

From there on, Belting, for whom Islam is in essence an aniconic civilization, has great difficulty in demonstrating what he announces in the title: the influence of Arab science (notably Ibn al-Haytam work on human vision) on the Renaissance in Florence (in particular its definition of “geometric perspective”). In fact, presenting himself as an erudite, peaceful and “objective” scholar, Belting’s book feeds into the bellicose thesis of a supposed “Clash” of civilizations, while claiming the opposite.

Frescos of the « desert castle » of Qusayr ‘Amra (Jordan).

The first manifestations of pictorial art in the Arab-Muslim world date back to the Omayyad period (660-750). It is from this period that date the famous “desert castles”, such as Qusayr ‘Amra, in Eastern Jordan. Covered with wall paintings, these palaces reflect a contribution of the Byzantine, but also Persian Sassanid modes of representation. Thus, in the palace of Qusayr ‘Amra, used as a resort by the Caliph or his princes for sport and pleasure, the frescoes depict constellations of the zodiac, hunting scenes, fruits and women in the bath.

In the field of literature, Al-Rashid built up a vast library including a collection of rare books as well as thousands of books that kings and princes of the ancient world offered him.

For example, Kalila and Dimna, also known as the Indian Fables of Bidpaï, one of the most popular works of world literature. Compiled in Sanskrit nearly two thousand years ago, these animal fables, from which Aesop and La Fontaine drew, were translated from China to Ethiopia. Translated into Arabic around 750 by Ibn al-Muqaffa, they were richly illustrated in the Arab, Persian and Turkish worlds. The oldest illustrated Arabic version was probably produced in Syria in the 1200s. The landscape is symbolized by a few elements: a strip of grass, shrubs with stylized leaves and flowers. Men and animals are represented with bright colors and simplified lines.

A true manual for the education for kings, one of the fables evokes the idea,



of creating a university dedicated to the study of languages,
ancient and modern, and to the preservation,
in renewed forms, of the heritage of the human species…

Illustration of Kalima and Dimna.


And at the end of his story, the wise Bidpaï warns the young king Dabschelim:



“I must emphasize this last point: my stories require, at this stage, no extra commentary, wretched imaginings, or vapid guesswork by you, me, or anyone else. The very worst habit would be that of moralizing away the effective substance. Thus the urge to tag tidy little rationalizations, persuasive formulas, intellectual summaries, symbolical labels, or nay other convenient pigeon-holing device, mus be steadfastly resisted. Mental encapsulation perverts the medecine, rendering it impotent. It amount to a bypass around the story’s true destination; to explain away is to forget. It is also a type of hypocrisy – poisonous, an antidote to truth. Thus, let the stories which you can remember do their own work by their very diversity. Familiarize yourself with them, but fiddle with them not.”



Also noteworthy is The Sessions of the poet and man of letters Al-Hariri (1054-1122) [*7], written at the end of the tenth century and which had a tremendous diffusion throughout the Arab world. The text, which recounts the adventures of the brigand Abu Zayd, is particularly suitable for illustration.

Al-Ma’mûn and the Houses of Wisdom (Bayt al-Hikma)

After a violent dispute with his brother who sought to remove him from power, Al-Ma’mûn, the youngest son of Al-Rashid, became the eighth Abbasid caliph in 813. He was particularly interested in the work of scholars, especially those who knew Greek. He gathered in Baghdad thinkers of all beliefs, whom he treated magnificently and with the greatest tolerance. They all wrote in Arabic, a language that allowed them to understand each other. He brought manuscripts from Byzantium to enrich the vast library of his father. Open to scholars, translators, poets, historians, physicians, astronomers, scientists and philosophers, this first public library became the basis of the Bayt Al-Hikma (the “Houses of Wisdom”) combining translation, teaching, research and even public health activities, long before the Western universities. It was here that all known scientific manuscripts of the time, especially Greek writings, were gathered for study.

In Baghdad, this cultural bubbling will not remain confined to the Court but will go down to the street as this description of Baghdad by Ibn Aqul (died in 1119) testifies:

“First there is the large space called the Bridge Square. Then the Birds’ Market, a market where one can find all kinds of flowers and on the sides of which are the elegant stores of the money changers. (…) Then the caterers’ market, the bakers’ market, the butchers’ market, the goldsmiths’ market, unrivaled for the beauty of its architecture: high buildings with teak beams, supporting corbelled rooms. Then there is the huge booksellers’ market, which is also the gathering place for scholars and poets, and the Rusafa market. In the markets of Karkh and the Gate of the Ark, the perfumers do not mix with the merchants of grease and products with unpleasant smells; in the same way the merchants of new objects do not mix with the merchants of used objects.”

Persia, the Nestorians and medicine

Ruins of Gondichapur (Iran)

As a model for the Houses of Wisdom, the Persian influence and precedents are often mentioned. It is true that the Barmakids, a family of Persian origin [*8], had a great influence on the first Abbasid caliphs.

In fact, al-Ma’mûn’s tutor was Jafar ben Yahya Barmaki (767-803), a member of the family of the Armenians and the son of the Persian vizier of his father Al-Rashid. The Persian elite who advised the Abbasid caliphs took a keen interest in the works of the Greeks, whose translation had begun during the reign of the Sassanid king Khosro I Anushirvan (531-579).

The latter founded the Academy of Medicine in Gondichapur. Many Nestorian (Christian) scribes and scholars had taken refuge there after the Council of Ephesus in 431. [*9]

The liturgical language of the Nestorians was Syriac, a Semitic dialect [*10].

A Tang Dynasty Chinese ceramic statuette of a Sogdian merchant riding on a Bactrian camel.

Like the Jews, these Nestorian Christians possessed a cosmopolitan culture and a knowledge of languages (Syriac and Persian) that enabled them to act as intermediaries between Iran and its neighbors. And thanks to their access to the wisdom of ancient Greece, they were often employed as physicians. [*11]

The Academy of Medicine of Gondichapur [*12] had reached its peak in the 5th century thanks to the Syriac scholars expelled from Edessa. In this school, medicine was taught based on the translations of the Greek scholar and physician Claudius Galen. These teachings were put into practice in a large hospital, a tradition taken up in the Muslim world. This school was a meeting place for Greek, Syriac, Persian and Indian scholars, whose scientific influence was mutual. Heir to the Greek medical knowledge of Alexandria, the school of Gondichapur trained several generations of physicians at the court of the Sassanid and later at that of the Muslim Abbasid. As early as 765, the Abbasid caliph Al-Mansur, who reigned from 754 to 775, consulted the head of the Gondichapur hospital, Georgios ben Bakhtichou, and invited him to Baghdad. His descendants will work and teach medicine there. Long after the establishment of Islam, the Arab elites sent their sons to this Nestorian Christian school.

Timothy I (727-823) was the Christian patriarch of the Church of the East (“Nestorian”) between 780 and 823. His first decision was to establish the seat of his church in Baghdad, where it was to remain until the end of the thirteenth century, thus forging privileged links between the Nestorians and the Abbasid caliphs. A man with a good command of Syriac, Arabic, Greek and eventually Pehlevi, Timothy enjoyed the consideration of the Abbasid caliphs Al-Mahdi, Al-Rashid and Al-Ma’mûn.

During his forty-three years of pontificate, the Eastern Church lived in peace. Moreover, the Nestorians played a major role in the spread of Christianity in Central Asia as far as China via the Silk Road. In Central Asia, before the arrival of Islam, it was Sogdian, (the Iranian language of Sogdia and its capital Samarkand) that served as the lingua franca on the Silk Road. [*13]

Translating, understanding, teaching, improving

Scholars at an Abbasid library. Maqamat of al-Hariri Illustration by Yahyá al-Wasiti, 1237.

In Baghdad and Basra, in the Houses of Wisdom, the histories and texts collected after the collapse of the empire of Alexander the Great were translated and made available to scholars, texts initially collated and translated from Syriac into Persian under the aegis of the Sassanid emperors.

The Arab historian and economist Ibn Khaldun (1332-1406), who came from a large Andalusian family of Yemeni origin, paid tribute to this effort to preserve and disseminate the Greek heritage: “What happened to the sciences of the Persians whose writings, at the time of the conquest, were annihilated by order of Omar? Where are the sciences of the Chaldeans, the Assyrians, the inhabitants of Babylon? Where are the sciences that reigned among the Copts in the past? There is only one nation, that of the Greeks, whose scientific productions we possess exclusively, and that is thanks to the care that Al-Ma’mûn took in translating these works.”

These first translations into Arabic made available to the Arab-Muslim world hundreds of texts on philosophy, medicine, logic, mathematics, astronomy, music, etc., from Greek, Pehlevi, Syriac, Hebrew, Sanskrit, etc, including those of Plato, Aristotle, Pythagoras, Sushruta, Hippocrates, Euclid, Charaka, Ptolemy, Claudius Galen, Plotinus, Aryabhata and Brahmagupta.

An illustration of a self-trimming lamp from Ahmad’s (Banu Musa) On Mechanical Devices, written in Arabic.

They were accompanied by reflections, commentaries, translations of commentaries, etc. and gave rise to a new form of literature. According to the Nestorian patriarch Timothy I, it was at the request of the Caliph Al-Mahdi that he translated Aristotle’s Topics from Syriac into Arabic. He also wrote a treatise on astronomy entitled The Book of Stars, now lost.

An astrology and astronomy enthusiast, Al-Ma’mûn once made it a condition of peace with the Byzantine Empire to hand over a copy of the Almagest, Ptolemy’s main work, which was supposed to summarize all Greek astronomical knowledge. In 829, in the upper district of Baghdad, he built the first permanent observatory in the world, the Baghdad Observatory, allowing his astronomers, who had translated the Astronomical Treatise of the Greek Hipparchus of Nicaea (190-120 B.C.), as well as his star register, to methodically monitor the movement of the planets.

Here is what Sâ’id al-Andalusî (1029-1070) tells us about Al-Ma’mûn’s interest in astronomy and his efforts to advance it:

“As soon as Al-Ma’mûn became caliph, his noble soul made every effort to attain wisdom, and to this end he was particularly concerned with philosophy; moreover, the scholars of his time studied in depth a book by Ptolemy and understood the diagrams of a telescope that was drawn therein. So Al-Ma’mûn gathered all the great scholars present throughout the regions of the caliphate, and he asked them to build the same kind of instrument so that they could observe the planets in the same way as Ptolemy had done and those who had preceded him. The object was built and the scholars brought it to the city of al-Shamâsiyya in the region of Damascus in the Sham in the year 214 AH (829 AD). Through their observations they determined the exact duration of a solar year as well as the inclination of the sun, the exit of its center and the situation of its various faces, which allowed them to know the state and positions of the other planets. Then the death of the caliph al-Ma’mûn in 218 A.H. (833) put an end to this project, but they nevertheless completed the astronomical telescope and named it ‘the Ma’mûn telescope’”

Now, let me present you a short list of the main astronomers, mathematicians, thinkers, scholars and translators who frequented the Houses of Wisdom:

Al-Jahiz (776-867). The encyclopedic approach of this Mutazilite is conceived as « a necklace gathering pearls » or as a garden which, with its plants, its harmonious organization and its fountains, represents in miniature the whole universe. He sketches the principle of the evolution of species;

Al-Khwarizmi (780-850), (in Latin Algorithmus). This Persian mathematician and astronomer, according to some a Zoroastrian converted to Islam, would have been a follower of mutazilism. He is best known for having invented the method of solving mathematical problems, which is still used today and which is called algorithm. He studied for some time in Baghdad but it is also reported that he made a trip to India. Al Khawarizmi invented the word algebra (from the Arabic word j-b-r, meaning force, beat or multiply), introduced the Indian numerical system to the Muslim world, institutionalized the decimal system in mathematics, and formalized the testing of scientific hypotheses based on observations;

Sahl Rabban al-Tabari (786-845), a Jewish astronomer and physician whose name means “The son of the rabbi of Tabaristan”. His son Ali was the tutor of al-Razi (865-925). An alchemist who became a physician, he is said to have isolated sulfuric acid and ethanol and was among the first to advocate their medical use. He greatly influenced the conception of hospital organization in connection with the training of future doctors. He was the object of much criticism for his opposition to Aristotelianism;

Al-Hajjaj (786-823) made the first Arabic translation of Euclid’s Elements from Greek. He also translated Ptolemy’s Almagest;

Al-Kindi (801-873) (known as Alkindus), considered the father of Arab philosophy, was a mutazilist. He was a prolific author (about 260 books) and explored all fields: geometry, philosophy, medicine, astronomy, physics, arithmetic, logic, music and psychology. Along with his colleagues, Al-Kindi was entrusted with the translation of the manuscripts of Greek scholars. After the death of Al-Ma’mun in 833, he was considered too much of a mutazilist, fell into disgrace and his library was confiscated;

The Banu Musa (“children of Moses”) brothers, three brilliant sons of a deceased astrologer, friend of the Caliph. Mohammed will work on astronomy; Ahmed and Hassan on the canals linking the Euphrates to the Tigris, a guarantee of the control and optimization of their respective floods. They published the Book of Ingenious Mechanisms, an inventory of new techniques and machines [*14];

Hunayn ibn Ishâk (808-873) (known as Iohannitius). This Nestorian Christian was entrusted by Al-Ma’mun with the task of overseeing the quality of translations; a physician, he translated some of the works of the Greek physician Claudius Galen;

Thabit ibn Qurra (836-901), a Syrian astronomer, mathematician, philosopher and musicologist;

Qusta ibn Luqa (820-912), a Greek Byzantine physician, also a philosopher, mathematician, astronomer, naturalist and translator. A Christian of the Melkite Church, he spoke both Greek (his mother tongue) and Arabic, as well as Syriac. Considered, along with Hunayn ibn Ishaq, as one of the key figures in the transmission of Greek knowledge from Antiquity to the Arab-Muslim world. He was the translator of Aristarchus of Samos for whom the Earth revolved around the Sun and the author of a treatise on the astrolabe;

Ibn Sahl (940-1000), in the footsteps of Al-Kindi, wrote a treatise on burning mirrors and lenses around 984, explaining how they can focus light on a point. His work was perfected by Ibn Al-Haytam (965-1040) (Latin name: Alhazen), whose writings reached as far as Leonardo da Vinci, via the Commentaries of Ghiberti. In Ibn-Sahl, we find the first mention of the law of refraction, later rediscovered in Europe as the law of Snell-Descartes.

Drawn into Bagdad for the opportunities it offered, these scholars generally worked in teams in a totally interdisciplinary spirit. Al-Ma’mûn, monitoring the science projets and noting the contradictions that arose from the translations of Greek, Persian and Indian sources, fixed with the scholars the next great scientific challenges to be met:

–To obtain, thanks to more efficient astronomical observatories, tables of astronomical ephemerides [*15] of greater precision than those of Ptolemy;
–To calculate with precision the circumference of the Earth with more advanced methods than those of the Greek astronomer Eratosthenes (3rd century BC);
–Produce a world map integrating the latest geographical knowledge concerning the distances between cities and the size of the continents;
–Deciphering the Egyptian hieroglyphs that Al-Ma’mûn had discovered during his trip to Egypt.

Translations of Plato

Socrates and his Students, illustration from ‘Kitab Mukhtar al-Hikam wa-Mahasin al-Kilam’ by Al-Mubashir, Turkish School, (13th c).

By asserting that what had advanced science at this period was the rediscovery of Aristotle and his purely empiricist method, one forgets the rediscovery of Plato, whose dialectical and hypothetical method has often done more for science than blind empiricism.

Al-Kindi’s intense involvement in the Platonic tradition is reflected in his summaries of the Apology and the Crito, and in his own works that paraphrase the Phaedo or are inspired by the Meno and the Symposium. The Syrian scientist Ibn al-Bitriq, a member of Al-Kindi’s “circle” in Bagdad, translated the Timaeus.

Otherwise, the House of Wisdom’s top translator, Hunayn ibn Ishaq and his circle translated the Greek physician Claudius Galen’s commentaries on the Timaeus, especially his On what Plato said in the Timaeus in a medical way and his On the doctrines of Hippocrates and Plato. And from Hunayn’s own works, we know that some of his students translated Galen’s lost Greek summaries of Plato’s Cratylus, Sophist, Parmenides, Euthydemus, Republic and Laws. Finally, the physician al-Razi presented and commented on Plutarch’s treatise On the Generation of the Soul in the Timaeus.

Inter-religious dialogue:
possible for some, complicated for others

In the West, the name of Al-Kindi is best known in association with The Apology of Al-Kindi, an anonymous text of the time. It is probably a fictitious dialogue between two believers, one Muslim (Abdallah Al-Hashimi), the other Christian (Al-Kindi), both criticizing the other’s and praising one’s own religion and inviting the other to join him! This dialogue supposedly took place at the time of the caliph Al-Ma’mûn. What we know about the open-mindedness of the Caliph does not contradict this assertion. The earliest known mention of the existence of this Apology came to us from Al-Biruni (973-1048).

The manuscript of Al-Kindi’s Apology was translated into Latin in 1142 at the request of Peter the Venerable (1092-1156), grand abbot of the abbey of Cluny, the most powerful and important in Latin Europe. That same year, after visiting Toledo, he conceived the idea of a systematic refutation of the Muslim religion, which he considered heretical and errant.

Here is how he explains the translation he has just ordered of the Koran (the Lex Mahumet pseudoprophete) by a team of translators (including an Arab) brought together for the occasion:

Whether one gives the Mohammedan error the shameful name of heresy or the infamous one of paganism, one must act against it, that is, write. But the Latins and especially the moderns, the ancient culture perishing, according to the word of the Jews who once admired the polyglot apostles, do not know any other language than that of their native land. So they could neither recognize the enormity of this error nor stop it. So my heart was inflamed and a fire burned in my meditation. I was indignant that the Latins did not know the cause of such a perdition and their ignorance robbed them of the power to resist it; for no one answered, for no one knew. So I went to find specialists in the Arabic language which has allowed this deadly poison to infest more than half the globe. I persuaded them, by dint of prayers and money, to translate from Arabic into Latin the history and doctrine of this wretched man and his very law, which is called Koran”.

Accused hence “the Arabic language which allowed this deadly poison (Islam) to infest more than half of the globe”…

This declaration of war was undoubtedly required to motivate his troops. Let us recall that Eudes de Châtillon, the grand prior of the abbey of Cluny, who will become Pope Urban II in 1088, will be, in 1095, at the origin of the first crusade sending the bandits who ravaged France, to go and wage war elsewhere.

The decline and Al-Ghazali

Aristotle trying to explain the astrolab to his pupils. Miniature from The best rulings and the most precious sayings of Al-Moubachir, Arabic manuscript, 13th Century. Istanbul.

Let us return to the Abbasids. As we have said, with the arrival in power of Al-Mutawakkil in 847, mutazilism was removed from power and the Houses of Wisdom were reduced to simple libraries. This did not prevent a traveller, describing his visit to Baghdad in 891, from reporting that the city contained more than one hundred public libraries. Following the Bayt Al-Hikma model, small libraries were founded on every street corner of the city…

Entangled in endless theological debates between experts and won by sectarianism, the mutazilist elite cut itself off from a people who were losing confidence and eventually welcomed with a sense of relief the obscurantist doctrine of Al-Ghâzalî (1058-1111) (Latin name: Algazel), the worst enemy of the mutazilites.

Al-Ghâzalî proposed a radical solution: philosophy is only right when it agrees with religion – which, according to Al-Ghâzalî, is rare. This leads him to radicalize his position, and to attack more and more the Greco-Arab philosophy, guilty, in his eyes, of blasphemy.

Where someone like the Persian Ibn Sina (980-1037) (Latin name: Avicenna), author of the Canons or Precepts of Medicine (around 1020), crossed Greek philosophy and Muslim religion, Al-Ghazali wanted to filter the first through the second.

Hence his most famous and important work, The Incoherence of the Philosophers, written in 1095. In it, he denounces the “pride” of the philosophers who claim to “rewrite the Koran” through Plato and Aristotle. Their error is above all a logical one, as the title of the book itself indicates, which underlines their “incoherence”: they want to complete the Koran with Greek philosophy, whereas the Koran comes later in history and therefore does not need to be completed. He therefore promotes a much more literal approach to the Koranic text, whereas Ibn Sina defended, cautiously it is true, a metaphorical approach. In truth, it is Aristotelianism and nominalism that triumph. The doctrine opposing Mutazilism became known as Ash’arism.

For Ascharites, to speak of God’s justice and rationality is a double blasphemy, because it amounts to limiting his omnipotence. If God were, as the Mutazilites say, compelled to will what is good, then he would be … compelled, which the Ascharites find theologically unacceptable. Therefore, believers should not admit the idea that God wills good, but submit to the principle that whatever he wills is good because he wills it.

Similarly, it is blasphemous to look for « second causes » in nature, i.e. scientific laws. The world exists because God, at every moment, wants it to exist. Any scientific research, any attempt to apply reason and analysis, is an offense to the divine omnipotence.

For Sébastien Castellion, the rejection of reason by the Ascharite school – and subsequently by much of Muslim civilization – was not an implicit and subterranean process, but an explicit decision based on theological principles. The great jurist Ibn Hanbal, whose school is predominant in Saudi Arabia today, said that « all those who indulge in reasoning by analogy and personal opinions are heretics (…). Accept only, without asking why and without making comparisons. »

The fall of Bagdad

From the eleventh century onward, the Abbasid, whose Empire was fragmenting, called upon the Turkish Seljuk princes to protect them against the Shiites, supported by the Fatimid caliphate of Cairo. Gradually, the Turkish and Mongol troops, coming from Central Asia, ended up governing the security of the Abbasid caliph while letting him exercise his religious power.

Then, in 1258, they deposed the last caliph and confiscated his title of successor of the Prophet, which gave them religious power over the four schools of Sunnism. In order to subdue the Arab and Persian populations, the Seljuk Turks created the madrasa (Koranic school) where the conservative doctrine of Acharite Sunnism was taught to the exclusion of the dialectical Mutazilite theology, considered an ideological threat to Turkish authority over the Arabs.

The Abbasid Empire declined as a result of administrative negligence, abandonment of canal maintenance, flood-induced famine, social injustice, slave revolts, and religious tensions between Shiites and Sunnis. At the end of the 9th century, the Zendj, black slaves (from Zanzibar) who worked in the marshes of the lower Iraq, revolted several times, even occupying Basra and threatening Baghdad. The Caliph restored order at the cost of an unprecedentedly violent repression. The rebels were only crushed in 883 at the cost of many victims. The empire did not recover.

In 1019, the Caliph forbade any new interpretation of the Koran, radically opposing the Mutazilite school. This is a brutal stop to the development of critical thinking and intellectual and scientific innovations in the Arab Empire, the consequences of which are still felt today.

ASTRONOMY

Since the dawn of time (it is the case to say it), man has tried to understand the organization of the stars in the environment near the Earth.

Installations such as Stonehenge (2800 BC) in England allowed the first observers to identify the cycles that determine the place and the exact day when certain stars rise. All these observations posed paradoxes: around us, the earth appears relatively flat, but the Moon or the Sun that we perceive with the same eyes seem spherical. The Sun « rises » and « sets », our senses tell us, but where is the reality?

It seems that Thales of Miletus (625-547 BC) was the first to have really wondered about the shape of the Earth. He thought that the Earth was shaped like a flat disk on a vast expanse of water. Then Pythagoras and Plato imagined a spherical shape, which they considered more beautiful and rational. Finally Aristotle reported some observational evidence such as the rounded shape of the Earth’s shadow on the Moon during eclipses.

The Greek scientist Eratosthenes (276 BC- 194 BC), chief librarian of the Alexandria library, then calculated the Earth’s circumference. He had noticed that at noon, on the day of the summer solstice, there was no shadow on the side of Aswan. By measuring the shadow of a stick planted in Alexandria at the same time and knowing the distance between the two cities, he deduced the circumference of the Earth with a rather astonishing accuracy: 39,375 kilometers against some 40,000 kilometers for current estimates.

Between Ptolemy’s Almagest and Copernicus’ De Revolutionibus, as we have said, Arabic astronomy constitutes “the missing link”.

The original title of Ptolemy’s work is The Mathematical Composition. The Arabs, very impressed by this work, called it “megiste”, from the Greek meaning “very great”, to which they added the Arabic article “al”, to give “al megiste” which became Almageste.

It is important to know that Ptolemy never had the opportunity to re-read his treatise as a whole. After writing the first of the thirteen books of his work, the one on “The Fundamental Postulates of Astronomy”, Ptolemy passed it on to copyists who reproduced it and distributed it widely without waiting for the completion of the other twelve books…

Astrolabe made of brass by mathematician Ibrahim ibn Sa’id al-Shali. It is dated in the year 459 of the Hegira, corresponding to 1067 and was built in a Toledo workshop.

In the end, confronted with observations that called into question his own observations and in order to rectify his errors, Ptolemy wrote another work, after the Almagest, entitled Planetary Hypotheses. The author returned to the models presented in the Almagest while making modifications to the average motions (of the planets) to take into account the latest observations. However, his Planetary Hypotheses went beyond the mathematical model of the Almagest to present a physical realization of the universe as a set of nested spheres, in which he used the epicycles of his planetary model to calculate the dimensions of the universe. Finally, the Almagest also contains a description of 1022 stars grouped into 48 constellations.

Ptolemy also presents stereographic projection invented by Hipparchus, the theoretical basis for the construction of the astrolabe by Arab astronomers.

In the ninth century, when the Arabs became interested in astronomy, knowledge was based on the following principles summarized in the work of Ptolemy:

–Ignoring the assertions of Aristarchus of Samos (310-230 BC) for whom the Earth revolved around the Sun, Ptolemy resumed in the second century AD the thesis of Eudoxus of Cnidus (approx. 400-355 BC) and especially Hipparchus (180 to 125 BC) to assert that the Earth is a motionless sphere placed at the center of the world (geocentrism);

–Ptolemy agreed with Plato, who was inspired by Pythagoras, that the circle was the only perfect form, and that the other bodies turning around the Earth did so according to circular and uniform trajectories (without acceleration or deceleration);

–Yet everyone knew that some planets do not follow these perfect rules. In the 6th century, the neo-Platonic philosopher Simplicius, in his Commentary on Aristotle’s Physics, wrote: “Plato then poses this problem to the mathematicians: what are the uniform and perfectly regular circular motions that should be taken as hypotheses, so that we can save the appearances that the wandering stars present?” ;

–In order to account for the « apparent retrograde motion » of Mars, Hipparchus will introduce other secondary perfect figures, again circles. The articulation and interaction of these “epicycles” gave the appearance of sticking with the observed facts. Ptolemy took up this approach;

–However, the more the precision of astronomical measurements improved, the more anomalies were discovered and the more it was necessary to multiply these interlocking “epicycles”. It quickly became very complicated and inextricable;

–The universe is divided into a sub-lunar region where everything is created and therefore perishable, and the rest of the universe, supra-lunar, which is imperishable and eternal.

Hipparchus of Nicea

Ptolemy’s Almagest in arab with figures of Hipparchus epicycles.

The Arab astronomers, for both religious and intellectual reasons that we mentioned at the beginning of this article, initially discovered and then, on the basis of increasingly detailed observations, challenged Hipparchus’ hypotheses, which were the basis of the Ptolemaic model.

Hipparchus imagined a system of coordinates for the stars based on longitudes and latitudes. We also owe him the use of parallels and meridians to locate the Earth as well as the division of the circumference into 360° inherited from the sexagesimal calculation (base 60) of the Babylonians.

In astronomy, his works on the rotation of the Earth and the planets are numerous. Hipparchus explains the mechanism of the seasons by noting the obliquity of the ecliptic: the inclination of the Earth’s axis of rotation. By comparing his observations with older ones, he discovered the precession of the equinoxes due to this tilt: the Earth’s axis of rotation makes a conical movement from East to West and of revolution 26,000 years. Thus in a few millennia, the North Pole will no longer be found with the North Star (Polaris) but with another star, Vega.

Based on Hipparchus, the Arabs perfected and fabricated an important instrument for measuring positions: the astrolabe. This “mathematical jewel” allows to measure the position of stars, planets, to know the time on Earth. Later, the astrolabe was replaced by more precise and easier to use instruments, such as the quadrant, the sextant or the octant.

With the manuscripts at their disposal in the Houses of Wisdom and the observatories of Baghdad and Damascus, the Arab astronomers had texts of an incredible richness but often in flagrant contradiction with their own observations of the movements of the Moon and the Sun. It is from this confrontation that later discoveries were born. The Arabs introduced a lot of mathematics to solve problems, especially trigonometry and algebra.

The Arab astronomers

In order to present the main Arab astronomers and their contributions, here is an excerpt from J. P. Maratray’s remarkable article L’astronomie arabe.

Al-Khwarizmi (783-850) called Algorithmi.
A mathematician, geographer and astronomer of Persian origin, he was a member of the « House of Wisdom ». He is one of the founders of Arab mathematics, inspired by Indian knowledge, in particular the decimal system, fractions, square roots… He is credited with the term “algorithm”. Algorithms are known since antiquity, and the name of Al-Khwarizmi (Algorithmi in Latin) will be given to these sequences of repeated elementary operations. He is also the author of the term “algebra”, which is the title of one of his works on the subject. He was also the first to use the letter x to designate an unknown in an equation. He wrote the first book of algebra (al-jabr) in which he described a systematic method of solving second degree equations and proposed a classification of these equations. He introduced the use of numbers that we still use today. These “Arabic” numbers are in fact of Indian origin, but were used mathematically by Al-Khwarizmi. He adopted the use of the zero, invented by the Indians in the 5th century, and adopted by the Arabs through him. The Arabs will translate the Indian word “sunya” by “as-sifr”, which becomes “ziffer” and “zephiro”. Ziffer will give “number”, and zephiro, “zero”. Al-Khwarizmi established astronomical tables (position of the five planets, the Sun and the Moon) based on Hindu and Greek astronomy. He studied the position and visibility of the Moon and its eclipses, the Sun and the planets. It is the first completely Arabic astronomical work. A crater of the Moon bears his name.

Al-Farghani (805-880) called Alfraganus (mentioned in Dante’s Commedia).
Born in Ferghana in present-day Uzbekistan, he wrote in 833 the Elements of Astronomy, based on the Greek knowledge of Ptolemy. He was one of the most remarkable astronomers in the service of Al-Ma’mûn, and a member of the House of Wisdom. He introduced new ideas, such as the fact that the precession of the equinoxes must affect the position of the planets, and not only that of the stars. His work was translated into Latin in the 12th century, and had a great impact on the very closed circles of Western European astronomers. He determined the diameter of the Earth, which he estimated at 10500 km. We also owe him a work on sundials and another on the astrolabe.

Al-Battani (850-929) called Albatenius.
He observed the sky from Syria. He is sometimes called “the Ptolemy of the Arabs”. His measurements are remarkably accurate. He determined the length of the solar year, the value of the precession of the equinoxes, the inclination of the ecliptic. He noted that the eccentricity of the Sun is variable, without going so far as to interpret this phenomenon as an elliptical trajectory. He wrote a catalog of 489 stars. We owe him the first use of trigonometry in the study of the sky. It is a much more powerful method than the geometrical one of Ptolemy. His main work is The Book of Tables. It is composed of 57 chapters. Translated into Latin in 1116 by Plato of Tivoli, it will greatly influence the European astronomers of the Renaissance.

Al-Soufi (903-986) known as Azophi.
Persian astronomer, he translated Greek works including the Almagest and improved the estimates of the magnitudes of stars. In 964, he published « The Book of Fixed Stars », where he drew constellations. He seems to have been the first to report an observation of the large Magellanic cloud (a nebula), visible in Yemen, but not in Isfahan. Similarly, we owe him a first representation of the Andromeda galaxy, probably already observed before him. He described it as « a small cloud » in the mouth of the Arabian constellation of the Great Fish. Its name (Azophi) was given to a crater on the Moon.

Al-Khujandi (circa 940- circa 1000).
He was a Persian astronomer and mathematician. He built an observatory in Ray, near Tehran, with a huge sextant, constructed in 994. It is the first instrument able to measure angles more precise than the minute of angle. He measures with this instrument the obliquity of the ecliptic, by observing the meridian passages of the Sun. He found 23° 32′ 19 ». Ptolemy found 23° 51′, and the Indians, much earlier, 24°. The idea of the natural variation of this angle never occurred to the Arabs. They discussed for a long time about the accuracy of the measurements, which made their science advance.

Ibn Al-Haytam (965-1039) called Alhazen.
A mathematician and optician born in Basra in present-day Iraq, he was asked by the Egyptian authorities to solve the problem of the Nile floods. His solution was the construction of a dam towards Aswan. He gave up in front of the enormity of the task (the dam was finally built in 1970!). Faced with this “failure”, he feigned madness until the death of his boss. He made a critical assessment of Ptolemy’s theses and those of his predecessors, and wrote Doubts on Ptolemy. He draws up a catalog of the inconsistencies, without however proposing an alternative solution. Among the inconsistencies he noted were the variation in the apparent diameter of the Moon and the Sun, the non-uniformity of the allegedly circular motions, the variation in the position of the planets in latitude, the organization of the Greek spheres. Observing that the Milky Way has no parallax, he placed it very far from the Earth, in any case further away than Aristotle’s sub-lunar sphere. Despite his doubts, he maintains the central place of the Earth in the universe. Ibn Al-Haytam takes up the work of Greek scholars, from Euclid to Ptolemy, for whom the notion of light is closely linked to the notion of vision: the main question being whether the eye has a passive role in this process or whether it sends a kind of fluid to “interrogate” the object. Through his studies of the mechanism of vision, Ibn Al-Haytam showed that the two eyes were an optical instrument, and that they actually saw two separate images. If the eye sent this fluid, one could see at night, he speculated. He understood that the sunlight reflected off the objects and then entered the eye. But for him, the image is formed on the lens… He took up Ptolemy’s ideas on the rectilinear propagation of light, accepted the laws of reflection on a mirror, and sensed that light has a finite, but very great speed. He studied refraction, the deviation of a light ray as it passes from one medium to another, and predicted a change in the speed of light as it passes. But he could never calculate the angle of refraction. He found that the phenomenon of twilight is related to the refraction of sunlight in the atmosphere, which he tried to measure the height, without success. Already known in antiquity, we owe him a very precise description and the use for experimental purposes of the dark room (camera obscura), a black room that projects an image on a wall through a small hole drilled in the opposite wall. The result of all this optical research is recorded in his Treatise on Optics, which took him six years to write and was translated into Latin in 1270. [*16] In mechanics, he asserted that an object in motion continues to move as long as no force stops it. This is the principle of inertia before the letter. An asteroid bears his name: 59239 Alhazen.

Al-Biruni (973-1048).
Certainly one of the greatest scholars of medieval Islam, originally from Persia, he was interested in astronomy, geography, history, medicine and mathematics, and philosophy in general. He wrote more than 100 works. He was also a tax collector and a great traveler, especially in India, where he studied language, religion and science. At the age of 17, he calculated the latitude of his native town of Kath (in Persia, now in Uzbekistan). At the age of 22, he had already written several short works, including one on cartography. In astronomy, he observed the eclipses of the Moon and the Sun. He is one of the first to evaluate the errors on his measurements and those of his predecessors. He noticed a difference between the average speed and the apparent speed of a star. He measured the radius of the Earth at 6339.6 km (the correct figure is 6378 km), a result used in Europe in the 16th century. During his travels, he met Indian astronomers who supported heliocentrism and the rotation of the Earth on its axis. He will always be skeptical, because this theory implies the movement of the Earth. But he will ask himself the question: « Here is a problem difficult to solve and to refute ». He believes that this theory does not lead to any mathematical problems. He refuted astrology, arguing that this discipline is more conjectural than experimental. In mathematics, he developed the calculation of proportions (rule of three), demonstrated that the ratio of the circumference of a circle to its diameter is irrational (future number Pi), calculated trigonometric tables, and developed methods of geodesic triangulations.

Ali Ibn Ridwan (988-1061).
Egyptian astronomer and astrologer, he wrote several astronomical and astrological works, including a commentary on another book of Claudius Ptolemy, the Tetrabible. He observed and commented on a supernova (SN 1006), probably the brightest in history. Its magnitude is estimated today, according to the testimonies that have come down to us, at -7.5! It remained visible for more than a year. He explains that this new star had two to three times the apparent diameter of Venus, a quarter of the brightness of the Moon, and that it was low on the southern horizon. Other western observations corroborate this description, and place it in the constellation of the Wolf.

From the 11th to the 16th century.
After a first phase, more important observatories were built. The first of them, model of the following ones, is that of Maragheh, in the current Iran. Their purpose was to establish planetary models and to understand the movement of the stars. (…) The school thus constituted will have its apogee with Ibn Al-Shâtir (1304-1375). Other observatories will follow, such as the one in Samarkand in the 15th century, Istanbul in the early 16th century, and, in the West, the one of Tycho Brahe in Uraniborg (Denmark at that time) at the end of the 16th century. The new models were no longer Ptolemaic inspired, but remained geocentric. The physics of the time still refused to put the Earth in motion and to remove it from the center of the world. These models were inspired by the Greek epicycles, keeping the circles, but simplifying them. For example, Al-Tûsî proposes a system comprising a circle rolling inside another circle of double radius. This system transforms two circular motions into an alternating rectilinear motion, and explains the variations of the latitude of the planets. Moreover, it accounts for the variations of the apparent diameters of the stars. But to go further, it will be necessary to change the reference system, which the Arabs refused to do. This change will occur with the Copernican revolution, during the Renaissance, in which the Earth loses its status as the center of the world.

Al-Zarqali (1029-1087) said Arzachel.
Mathematician, astronomer and geographer born in Toledo, Spain, he discussed the possibility of the movement of the Earth. Like others, his writings will be known to Europeans of the sixteenth and seventeenth century. He designed astrolabes, and established the Toledo Tables, which were used by the great Western navigators such as Christopher Columbus, and served as a basis for the Alphonsine Tables. He established that the eccentricity of the Sun varies, more precisely that the center of the circle on which the Sun rotates moves periodically away from or towards the Earth. A crater of the Moon bears his name, as well as a bridge of Toledo on the Tagus.

Omar Al-Khayyam (1048-1131).
Known for his poetry, he was also interested in astronomy and mathematics. He became director of the Isfahan observatory in 1074. He created new astronomical tables even more precise, and determined the duration of the solar year with great accuracy, given the instruments used. It is more accurate than the Gregorian year, created five centuries later in Europe. He reformed the Persian calendar by introducing a leap year (Djelalean reform). In mathematics, he was interested in third degree equations by demonstrating that they can have several solutions (he found some of them geometrically). He wrote several texts on the extraction of the cubic roots, and a treaty of algebra.

Al-Tûsî (1201-1274).
Astronomer and mathematician, born in the city of Tus in present-day Iran, he built and directed the observatory of Maragheh. He studied the works of Al-Khayyam on proportions, and was interested in geometry. On the astronomical side, he commented on the Almagest and completed it, like several astronomers (Al-Battani…) before him. He estimates the obliquity of the ecliptic at 23°30′.

Al-Kashi (1380-1439).
Persian mathematician and astronomer, he witnessed a lunar eclipse in 1406 and wrote several astronomical works afterwards. He spent the rest of his life in Samarkand, under the protection of Prince Ulugh Beg (1394-1449) who founded a university there. He became the first director of the new observatory of Samarkand. His astronomical tables propose values with 4 (5 according to the sources) digits in sexagesimal notation of the sine function. He gives the way to pass from a system of coordinates to another. His catalog contains 1018 stars. He improves the tables of eclipses and visibility of the Moon. In his treatise on the circle, he obtained an approximate value of Pi with 9 exact positions in sexagesimal notation, that is to say 16 exact decimals! A record, since the next improvement of the estimation of Pi dates from the 16th century with 20 decimals. He leaves his name to a generalization of the Pythagorean theorem to any triangles. This is the Al-Kashi theorem. He introduced the decimal fractions, and acquired a great reputation which made him the last great Arab mathematician astronomer, before the West took over.

Ulugh Beg (1394-1449).
Grandson of Tamerlan, prince of the Timurid (descendants of Tamerlan). Viceroy from 1410, he acceded to the throne in 1447. He was a remarkable scholar and a poor politician, a position he delegated to devote himself to science. His teacher was Qadi Zada al-Rumi (1364-1436) who developed in him a taste for mathematics and astronomy. He built several schools, including one in Samarkand in 1420 where he taught, and an observatory in 1429. He worked there with some 70 mathematicians and astronomers (including Al-Kashi) to write the Sultanian Tables published in 1437 and improved by Ulugh Beg himself shortly before his death in 1449. The accuracy of these tables will remain unequaled for more than 200 years, and they were used in the West. They contain the positions of more than 1000 stars. Their first translation dates from around 1500, and was made in Venice.

Taqi Al-Din (1526-1585).
After a period as a theologian, he became the official astronomer of the Sultan in Istanbul. He built an observatory there with the aim of competing with those of European countries, including that of Tycho Brahe. The observatory was opened in 1577. He drew up the Zij tables (“the unbroken pearl”). He was the first to use comma notation, rather than the traditional sexagesimal fractions in use. He observed and described a comet, and predicted that it was a sign of victory for the Ottoman army. This forecast turns out to be erronous, and the observatory is destroyed in 1580… He then devotes himself to mechanics, and describes the functioning of a rudimentary steam engine, invents a water pump, and is fascinated by clocks and optics.

The destruction of the observatory of Istanbul marks the end of the Arab astronomical activity of the Middle Ages. It was not until the Copernican revolution that new progress was made, and what progress! Copernicus and his successors were certainly strongly inspired by the results of the Arabs through their works. Travel and direct contact between scientists of the time were rare. Since Westerners did not understand Arabic, Latin translations probably influenced the West, along with the works of some Greek philosophers who had questioned the central position of the Earth, as Aristarchus of Samos had proposed around 280 BC.

Arab observatories

Scale model of the giant sextant constructed inside the Maragheh observatory (1259).

The modern observatory, in its conception, is a worthy successor of the Arab observatories of the late Middle Ages. Unlike the private observatories of the Greek philosophers, the Islamic observatory is a specialized astronomical institution, with its own premises, scientific staff, teamwork with observers and theoreticians, a director and study programs. They have recourse, as today, to increasingly large instruments, in order to constantly improve the accuracy of measurements.

The first of these observatories was built during the reign of Al-Ma’mûn in Bagdad in the 9th century. We have already mentioned the observatory of Ray, near Tehran and second city of the Abbasid Empire after Baghdad, with its monumental wall sextant dating from 994. To these must be added the observatories of Toledo and Cordoba in Spain, Baghdad and Isfahan.

Finally, the one in Maragheh in the north of present-day Iran, built in 1259 with funds collected to maintain hospitals and mosques. Al-Tusi worked there. Then came the era of the observatory of Samarkand, built in 1420 by the astronomer Ulugh Beg (1394-1449), whose remains were found in 1908 by a Russian team.

Today’s museum in Maragheh, Iran.

Conclusion

Mongol siege of Bagdad of 1258

Much more than the crusades, it will be the Mongol offensives that will devastate entire sections of the Arab-Muslim civilization. Genghis Khan (1155-1227), to the great pleasure of some Westerners, will destroy the Muslim kingdoms of Khwarezm (1218) and Sogdia with Bukhara and Samarkand (1220). The great city of Merv in 1221. In 1238, his son will seize Moscow, then Kiev. In 1240, Poland and Hungary will be invaded. In 1241, Vienna was threatened.

Before bringing down the Song Dynasty in China in 1273, the Mongols turned against the Abbassid.

Hence, the Houses of Wisdom came to a brutal end on February 12, 1258 with the Mongol invasion of Baghdad led by Hulagu (Genghis Khan’s grandson), who killed the last Abbasid caliph Al-Mu’tassim (despite his surrender) and destroyed the city of Baghdad and its cultural heritage. Hulagu also ordered the massacre of the caliph’s entire family and entourage.

Mutazilism was banned and the magnificent collection of books and manuscripts in the House of Wisdom in Baghdad was thrown into the muddy water of the Tigris, which turned brown for a few days because of the inked papers of the books and manuscripts.

One report says that the Mongols exterminated twenty-four thousand scholars and an incalculable number of books were lost. Of Mutazilism, its doctrine was only known through the texts of the traditionalist theologians who had attacked it. It was only the discovery of the voluminous works of Abdel al Jabbar Ibn Ahmad in the 19th century that made it possible to understand the key role played my this current of thought in the Arab renaissance and the formation of current Muslim theology, whether Sunni or Shiite.

Closer to home, the Iraq war of 2003: until then, Iraq was the world’s largest publisher of scientific publications in Arabic. As a result of the chaos caused by a war waged in the name of “democracy” and “the war on terror”, both the National Library and the National Archives were looted and burned. The same happened to the Central Library of Pious Legacies, the Library of the Iraqi University of Sciences, as well as many public libraries in Baghdad, Mosul and Basra. The same was true for the archaeological treasures of the Iraqi Museum and its library. It seems that some people have declared war on civilization.

British troops entering Bagdad in 1917.

NOTES:

  1. A theodicy or « righteousness of God ») is an explanation of the apparent contradiction between the existence of evil and two characteristics peculiar to God: his omnipotence and his goodness.
  2. Sumer. The natural environment of the Sumerian country was not really favorable to the development of a productive agriculture: poor soils with a high content of salts harmful to the growth of plants, very high average temperatures, insignificant rainfall, and flooding of rivers coming in the spring, at harvest time, and not in the fall when the seeds need them to germinate, as is the case in Egypt. It was therefore the ingenuity and relentless labor of Mesopotamian farmers that enabled this country to become one of the granaries of the ancient Middle East. From the 6th millennium BC, the peasant communities developed an irrigation system which gradually branched out to cover a large area, thereby taking advantage of the advantage offered to them by the extremely flat relief of the Mesopotamian delta, where there was no no natural obstacle to the extension of the irrigation canals over tens of kilometers. By regulating the level of water derived from natural watercourses to adapt it to the needs of crops, and by developing techniques aimed at limiting soil salinization (leaching of fields, practice of fallow), it was possible to obtain very high cereal yields.
  3. Khorassan is a region located in northeastern Iran. The name comes from the Persian and means « where does the sun come from ». It was given to the eastern part of the Sassanid Empire. Khorassan is also considered the medieval name of Afghanistan by Afghans. Indeed, this territory included present-day Afghanistan, as well as southern Turkmenistan, Uzbekistan and Tajikistan.
  4. In the 10th century, the Persian medical scholar Mohammad Al-Razi describes the distillation of petroleum to obtain kerosene or « illuminating petroleum » in his Book of Secrets.
  5. Sanskrit is a language of India, among the oldest known Indo-European languages ​​(older even than Latin and Greek). It is notably the language of Hindu religious texts and, as such, it continues to be used as a cultural language, like Latin in centuries past in the West.
  6. Peshlevi or Middle Persian is an Iranian language that was spoken during the Sassanid era. She descends from Old Persian. Middle Persian was usually written using the Pahlevi script. The language was also written using the Manichean script by the Manichaeans of Persia.
  7. Abu Muhammad al – Qasim ibn ’Ali al – Hariri (1054–1122), Arab man of letters, poet and philologist, was born near Basra, in present-day Iraq. He is known for his Oaths and his maqâmât (literally fashions, often translated as assemblies or sessions), a collection of 50 short stories combining social and moral commentary with the brilliant expressions of the Arabic language. If the genre of maqâma was created by Badi’al – Zaman al – Hamadhani (969–1008), it is the sessions of al – Hariri that best define it. Written in a rhyming prose style called saj ’and interwoven with exquisite verse, the stories are meant to be entertaining and educational. Each of the anecdotes takes place in a different city in the Muslim world during the time of al – Hariri. They tell of an encounter, usually at a gathering of townspeople, between two fictional characters: the narrator al – Harith ibn Hammam and the protagonist Abu Zayd al-Saruji. Over the centuries, the work has been copied and commented on many times, but only 13 copies still in existence today have illuminations illustrating scenes from the stories. The manuscript presented here, executed in 1237, was both copied and illustrated by Yahya ibn Mahmud al-Wasiti, often considered the first Arab artist. It contains 99 miniatures of exceptional quality. No other known copy contains so much. The miniatures, recognized for their striking depiction of Muslim life in the 13th century, are considered to be the earliest Arab paintings created by an artist whose identity is known. Al – Wasiti, founder of the Baghdad School of Illumination, was also a remarkable calligrapher, as evidenced by his fine Naskhi style. The almost immediate popularity of the maqâmât reached Arab Spain, where Rabbi Judah al-Harizi (1165-c. 1225) translated the sessions into Hebrew under the title Mahberoth Itiel and subsequently composed his own Tahkemoni, or Hebrew sessions. . The work was also translated into many modern languages.
  8. The Barmecids or Barmakids are members of a Persian nobility family originally from Balkh in Bactria (north of Afghanistan). This family of Buddhist religious (paramaka means in Sanskrit the superior of a Buddhist monastery) who became Zoroastrians and then converted to Islam provided many viziers to the Abbasid caliphs. The Barmakids had acquired a remarkable reputation as patrons and are regarded as the main instigators of the brilliant culture which then developed in Baghdad.
  9. The Christological thesis of Nestorius (born c. 381 – died 451), Patriarch of Constantinople (428-431), was declared a heretic and condemned by the Council of Ephesus. For Nestorius, two hypostases, one divine, the other human, coexist in Jesus Christ. From the Eastern Church, Nestorianism was one of the historically most influential forms of Christianity in the world throughout late Antiquity and the Middle Ages, to India, China and Mongolia.
  10. Syriac (a form of Aramaic, the language of Christ) is alongside Latin and Greek the third component of ancient Christianity, rooted in Hellenism but also descended from Near Eastern and Semitic antiquity. From the first centuries, in a movement symmetrical to that of the Greco-Latin Christian tradition towards the west, Syriac Christianity developed towards the east, as far as India and China. Syriac is still today the liturgical and classical language (a bit like Latin in Europe) of the Syriac Orthodox, Syriac Catholic, Assyrian, Chaldean and Maronite Churches in Lebanon, Syria, Iraq and South India. Where is. Finally, it is the branch of Christianity most in contact with Islam in which he continued to live.
  11. In South-West Asia, the Greek influence remained alive in several cities under Christian influence: Edessa (now Urfa in Turkey), at the time capital of the county of Edessa, one of the first Eastern Latin states, the closest to the Islamic world; Antioch (now Antakya in Turkey); Nisibe (now Nusaybin in Turkey); Al-Mada’in (ie “The Cities”), an Iraqi metropolis on the Tigris, between the royal cities of Ctesiphon and Seleucia on the Tigris and Gondichapour (now in Iran) whose ruins remain. To this must be added the cities of Latakia (in Syria) and Amed (today Diyarbakir in Turkey) where there were Jacobite centers (Christians of the East, but members of the Syriac Orthodox Church, not to be confused with the Nestorians).
  12. The Gondishapour Academy was located in present-day Khuzestan province in southwestern Iran, near the Karoun River. It offered the teaching of medicine, philosophy, theology and science. The faculty was well versed not only in Zoroastrian and Persian traditions, but also taught Greek and Indian languages. The Academy included a library, an observatory, and the oldest known teaching hospital. According to historians, the Cambridge of Iran was the most important medical center in the Old World (defined as the territory of Europe, the Mediterranean and the Near East) during the 6th and 7th centuries.
  13. Sogdian is a middle Iranian language spoken in the Middle Ages by the Sogdians, a trading people who resided in Sogdiana, the historic region encompassing Samarkand and Bukhara and covering more or less present-day Uzbekistan, Tajikistan and northern Afghanistan. Before the arrival of Arabic, Sogdian was the lingua franca of the Silk Road. Sogdian traders settled in China and Sogdian monks were among the first to spread Buddhism there. As early as the 6th century, Chinese rulers appealed to the Sogdian elite to resolve diplomatic, commercial, military and even cultural issues, prompting many Sogdians to migrate from Central Asia and China’s border regions to major Chinese political centers.
  14. The Book of Ingenious Machines contains a hundred machines or objects, most of them due to the Banou Moussa brothers or adapted by them: funnel, crankshaft, conical ball valves, float valve and other hydraulic regulation systems, mask gas and ventilation bellows for mines; dredge, variable jet fountains, hurricane lamp, auto-off light, auto-powered; automatic musical instruments including a programmable flute.
  15. Astronomical ephemeris: registers of the positions of stars at regular intervals.
  16. Ibn Al-Haytam. In 2007, during a conference at the Sorbonne, I explored the use, by the Flemish painter Jan Van Eyck (early 15th century), of a bifocal geometric perspective, wrongly qualified as « primitive », erroneous and intuitive, actually inspired by the work and binocular experiences of the Arab scholar Ibn Al-Haytam (Alhazen). The latter drew on the work of his predecessors Al-Kindi, Ibn Luca and Ibn Sahl. Alhazen was widely known in the West thanks to the translations of the Franciscans of the University of Oxford (Grosseteste, Bacon, etc.). See summary biography.

SUMMARY CHRONOLOGY:

  • 310-230 BC.: Life of the Greek astronomer Aristarchus of Samos;
  • 190-120 BC.: life of the Greek astronomer Hipparchus of Nicaea;
  • v. 100-160 : life of Roman astronomer Claudius Ptolemy;
  • 700-748: life of Wasil ibn Ata, intellectual founder of Mutazilism;
  • 750: beginning of the Abbasid dynasty;
  • 751: Abbasid victory against the Chinese at the battle of Talas (Kyrgyzstan);
  • 763: founding of Baghdad by Caliph Al-Mansur;
  • 780: Timothy I, patriarch of the Nestorian Christian church in Baghdad;
  • 780-850: life of the Arab mathematician al-Kwarizmi;
  • 786 to 809: caliphate for 23 years of Haroun al-Rachîd, legendary hero of the Thousand and One Nights tales. Development of mutazilism;
  • 801-873: life of the mutazilist and Platonic philosopher Al-Kindi;
  • 805-880: life of Al-Farghani, treatise on the Astrolabe;
  • 813-833: caliphate of Al-Ma’mûn (20 years);
  • 829: creation of the first permanent astronomical observatory in Baghdad followed by that of Damascus;
  • 832: creation of the public library and creation of the Maisons de la Sagesse;
  • 833: shortly before his death, Al-Ma’mûn decrees the created Koran and has mutazilism adopted as the official doctrine of the Abbasids;
  • 836: transfer from the capital to Samarra;
  • 848: the mutazilites removed from the Baghdad court;
  • 858-930: life of Al-Battani, known as Albatenius;
  • 865-925: life of translator and doctor Sahl Rabban al-Tabari;
  • 869-883: revolt of the Zanj (black slaves from Zanzibar);
  • 892: return from the capital of the Abbasids to Baghdad;
  • 965-1039: life of Ibn Al-Haytam, known as Alhazen;
  • 973-1048: life of Al-Biruni;
  • 1095: first crusade;
  • 1258: Baghdad sacked by the Mongols;
  • 1259: creation of the Maragheh Astronomical Observatory (Iran);
  • 1304-1375: life of Ibn Al-Shâtir;
  • 1422: creation of the Astronomical Observatory of Samarkand, capital of Sogdiana;
  • 1543: Polish astronomer Nicolas Copernicus publishes his De Revolutionibus;
  • 1917: British troops enter Baghdad;
  • 2003: looting and destruction by systematic arson of libraries and museums during the Iraq war.

BIBLIOGRAPHY:

  • Mutazilism, website of the Association for the Renaissance of Mutazilite Islam (ARIM);
  • Antoine Le Bail, Who are the mutazilites, sometimes called the « rationalists » of Islam ?, website of the Institut du Monde Arabe (IMA), Paris;
  • Richard C. Martin, Mark R. Woodward with Dwi S. Atmaja, Defenders of Reason in Islam, Mu’tazilism from Medieval School to Modern Symbol, Oneworld, Oxford, 1997;
  • Rober R. Reilly, The Closing of the Muslim Mind, How Intellectual Suicide Created the Modern Islamist Crisis, ISI, Wilmington, 2011;
  • Nadim Michel Kalife, The Lights of the First Centuries of Islam, on financialafrik.com, 2019;
  • Mahmoud Azab, A Vision of the Universality of Arab-Islamic Civilization, Oberta de Catalunya University, www.uoc.edu;
  • Sabine Schmidke, The People of Monotheism and Justice: Mutazilism in Islam and Judaism, Institute for Advanced Study, 2017;
  • Malek Chebel, Slavery in the Land of Islam, Fayard, Paris 2012;
  • Jacques Cheminade, Sublime words and idiocy by Nasr Eddin Hodja;
  • Jacques Cheminade, Proposals for an inter-religious dialogue;
  • Hussein Askary: Baghdad 767-1258 A.D., Melting Pot for a Universal Renaissance, Executive Intelligence Review, 2013;
  • Hussein Askary: The Beauty of the Islamic Renaissance, the Elephant Clock, S&P website;
  • Dr Subhi Al-Azzawi, The House of Wisdom of the Abbasids in Baghdad or the beginnings of the University, pdf on the internet;
  • Dimitri Gutas, Greek Thought, Arab Culture. The movement of Greco-Arabic translation in Baghdad and primitive Abbasid society (2nd-4th / 8th-10th centuries), Aubier, Paris 2005;
  • Jim Al-Khalili, The House of Wisdom, How Arab Science Saved Ancient Knowledge and Gave Us the Renaissance, Pinguin, London 2010;
  • Jonathan Lyons, The House of Wisdom, How the Arabs Transformed Western Civilization, Bloomsbury, London 2009;
  • Pastor Georges Tartar, Islamo-Christian Dialogue under Caliph Al-Ma’mûn, Les épitres d’Al-Hashimi and d’Al-Kindî, Nouvelles Editions Latines, Paris, 1985;
  • Al-Kindî, On First Philosophy, State University of New York Press, Albany, 1974;
  • Marie Thérèse d´Alverny, The transmission of philosophical and scientific texts in the Middle Ages, Variorum, Aldershot 1994;
  • Danielle Jacquart, Françoise Micheau, Arab medicine and the medieval West, Maisonneuve, Paris 1990;
  • Juan Vernet Gines, What culture owes to the Arabs of Spain, Sindbad, Actes Sud, Paris, 2000;
  • Karen Armstrong, Islam, A Short History, Phoenix, London, 2002;
  • Muriel Mirak Weisbach, Andalusia, a gateway to the Renaissance;
  • Régis Morelon, Eastern Arab Astronomy between the 8th and 11th Century, in History of Arab Sciences, edited by Roshdi Rashed, Vol. 1, Astronomy, Theoretical and Applied, Seuil, Paris, 1997;
  • George Saliba, Planetary Theories in Arab Astronomy after the 11th Century, in History of Arab Sciences, edited by Roshdi Rashed, Vol. 1, Astronomy, Theoretical and Applied, Seuil, Paris, 1997;
  • Roshi Rashed, Geometric Optics, in History of Arab Sciences, edited by Roshdi Rashed, Vol. 2, Mathematics and physics, Seuil, Paris, 1997;
  • Jean-Pierre Verdet, A History of Astronomy, Seuil, Paris, 1990;
  • J. P. Maratray, Arab Astronomy, on the Astrosurf.com website;
  • Jean-Pierre Luminet, Ulugh Beg – The Astronomer of Samarkand, 2018;
  • Kitty Ferguson, Pythagoras, His Lives and the Legacy of a Rational Universe, Walker publishing Company, New York, 2008;
  • Sir Thomas Heath, Aristarchus of Samos, The Ancient Copernicus, Dover, New York, 1981:
  • A. T. Papadopoulo, Islam and Muslim Art, The Art of Great Civilizations, Mazenod, Paris, 1976;
  • Olag Grabar, Art and Culture in the Islamic World, Arts & Civilizations of Islam, Köneman, Cologne, 2000;
  • Christiane Gruber, Images of Muhammad in Islam, Afkar / Ideas, Spring 2015;
  • Hans Belting, Florence & Baghdad, Renaissance art and Arab science, Harvard University Press, 2011;
  • Dominique Raynaud, Ibn al-Haytham on binocular vision: a precursor of physiological optics, Arabic Sciences and Philosophy, Cambridge University Press (CUP), 2003, 13, pp. 79-99;
  • Jonathan M. Bloom, Paper Before Print: The History and Impact of Paper in the Islamic World, Yale University Press, 2001;
  • Karel Vereycken, Jan Van Eyck, a Flemish painter in Arabic optics, S&P website;

 
Merci de partager !

The Greek language project, Plato and the Renaissance

By Karel Vereycken

Some friends asked me to elaborate on the following:

It is sometimes said that the introduction of Plato in the context of the Councils of Ferrara and Florence (1439) “triggered the explosion of the Italian Renaissance”.

And of the great humanist, the German Cardinal-philosopher Cusanus, it is said that he “brought to Florence Bessarion and Plethon, who were both Greek scholars of Plato and brought the entire works of Plato which had been lost in Europe for centuries”.

At the same time, goes the narrative, “the Medicis financed a crash program to translate the works of Plato. This excitement made the Italian Renaissance what it became”.

While Plato’s ideas and the renewal of greek studies did play a major role in triggering the European Renaissance, the preceding affirmations, as we shall document here, require some refinement.

Was the Italian Renaissance “triggered” by the Council of Florence?

The chancellor of Florence, Coluccio Salutati.

Not really. It was rather –40 years earlier–, the “Greek language revival project” project of Coluccio Salutati (1332-1406), who would become the chancellor of Florence and invite the Greek scholar Manuel Chrysoloras (1355-1415) to his city, that “triggered” a revival of Greek and Hebrew studies, which in return lead to the unification of the churches at the Council of Florence (1439).

The idea had regained interest from Petrarch and Boccaccio, which Salutati admired. Along with Dante Alighieri (1265-1321), it is undoubtedly the Italian poet Petrarch (1304-1374) who best embodies the ideals guiding the humanists of the Renaissance.

All his life, it is said, Petrarch tried to

« rediscover the very rich teaching of classical authors in all disciplines and, starting from this sum of knowledge, most often scattered and forgotten, to revive and pursue the research that these authors had begun. »

After following his parents to Avignon, Petrarch studied in Carpentras where he learned grammar, then in Montpellier, rhetoric, and finally in Bologna, where he spent seven years at the school of jurisconsults.

However, instead of studying law, which in those days paved the way to a brilliant career, Petrarch secretly read all the classics hitherto known, including Cicero and Virgil, despite the fact that his father occasionally burned his books.

Petrarch and Barlaam of Samara

Barlaam of Seminara crossing a river. XVth century manuscript.
Petrarch

Under the pontificate of Benedict XII, Petrarch tried to learn Greek language with the help of a learned monk of the Order of St. Basil, Barlaam of Seminara (1290-1348), known as Barlaam the Calabrian, who came to Avignon in 1339 as ambassador of Andronic III Paleologus in an unsuccessful attempt to put an end to the schism between the Orthodox and Catholic Churches.

A philosopher, theologian and mathematician, Barlaam, while having limited knowledge of Greek and Latin, was one of the first to wish that the study of the Greek language and philosophy be reborn in Europe.

In his Treatise On my own ignorance and that of many others (1367), Petrarch declared himself proud of his Greek manuscripts – and of his library in general – and expressed his deep admiration for Barlaam:

« I have at home sixteen works of Plato. I don’t know if my friends have ever heard the titles […]. And this is only a small part of Plato’s work, for I have seen, with my own eyes, a large number of them, especially in possession of the Calabrian Barlaam, a modern model of Greek wisdom who began to teach me Greek while I was still ignorant of Latin, and who might have done so successfully if death had not taken him away from me and hindered my honest plans, as usual.« 

In 1350, two years after Barlaam’s death, Petrarch met the son of a banker, Giovanni Boccaccio (1313-1375). The latter, like Petrarch, fell in love with the Greek culture and language. In his youth, in Naples, he too had met Barlaam and learned a few words of Greek, meticulously copying alphabets and verses, adding the Latin translation and pronunciation indications.

Boccaccio and Leontius Pilatus

Leontius Pilatus

To increase his mastery of Greek, Boccaccio then called from Thessaloniki a disciple of Barlaam, Leontius Pilatus (died in 1366), an austere, ugly and very bad-tempered character. But this Calabrian lectured him on Homer’s Iliad and Odyssey and translated sixteen of Plato’s dialogues. How could one get angry with him?

Boccaccio offered him shelter and food for three years in his home and had a chair of Greek created for him in Florence, the first time ever!

Unfortunately, Pilatus did not really master this language. Although posing as a native Greek, the man had poor knowledge of ancient Greek and his translations never got beyond the level of word-for-word. As for the lessons he gave Petrarch, they were so brutal that he disgusted him forever.

This did not prevent Pilatus, at the insistence of Boccaccio, from translating Homer’s Iliad and Odyssey into Latin from a Greek manuscript sent to Petrarch by Nicolaos Sigeros, the Byzantine ambassador to Avignon.

Hence, history being what it is, it was thanks to this highly imperfect translation that Europe rediscovered one of the great founding works of its culture!

Boccaccio’s book on famous women.

And on this fragile ground will rise a flame that will revolutionize the world.

« Was it not I, » writes Boccaccio in his Genealogy of the Gods, « who had the glory and honor of employing the first Greek verses among the Tuscans? Was it not I who, through my prayers, led Pilatus to settle in Florence and who housed him there? I brought at my own expense copies of Homer and other Greek authors when none existed in Tuscany. I was the first of the Italians to whom Homer, in particular, was explained, and then I had him explained in public.« 

The hunt for manuscripts

What is important is that during these encounters Petrarch created a cultural network covering the whole of Europe, a network reaching into the East.

He then asked his relations and friends, who shared his humanist ideals, to help him find in their respective country or province, the Latin texts of the ancients that the libraries of abbeys, individuals or cities might possess. In the course of his own travels, he found several major texts that had fallen into oblivion.

It is in Liege (Belgium) that he discovered the Pro Archia and in Verona, Ad Atticum, Ad Quintum and Ad Brutum, all by Cicero. During a stay in Paris, he got his hands on the elegiac poems of Propertius, then, in 1350, on a work by Quintilian. In a constant concern to restore the most authentic text, he subjected these manuscripts to meticulous philological work and made corrections by comparing them with other manuscripts. This is how he reconstructed the first and fourth decades of the Roman History of Titus Livius from fragments and restored some of Virgil’s texts.

These manuscripts, which he kept in his own library, later came out in the form of copies and thus became accessible to the greatest number of people. While acknowledging that the pagans lacked the « true faith, » Petrarch believed that when one speaks of virtue, the old and new worlds are not at war.


The « Circolo di Santo Spirito »

Florence: the Augustinian Convent Santo Spirito.

From the 1360s onwards, Boccaccio gathered a first group of humanists known as the « Circolo di Santo Spirito » (Circle of the Holy Spirit), whose name was borrowed from the 13th century Florentine Augustinian convent.

An embryonic form of a university, its Studium Generale (1284) was then at the heart of a vast intellectual center including schools, hospices and refectories for the needy.

Before his death in 1375, Boccaccio, who had recovered part of Petrarch’s library, bequeathed to the convent his entire collection of precious ancient books and manuscripts.

Then, in the 1380s and early 1390s, a second circle of humanists met daily in the cell of the Augustinian monk Luigi Marsili (1342-1394). The latter, who had studied philosophy and theology at the universities of Paris and Padua, where he already established contact with Petrarch in 1370, became friends with Boccaccio. Hence, by attending the Cercle Santo Spirito from 1375 onwards, Coluccio Salutati in turn fell in love with Greek studies.

By inviting the Greek scholar Manuel Chrysoloras (1355-1415) to Florence to teach Ancient Greek, it was Salutati who gave the decisive impulse leading to the end of the schism between East and West and thus to the unification of the Churches, consecrated at the Council of Florence in 1439.

Roger Bacon

A century before Salutati, the English philosopher and scientist Roger Bacon (1214-1294), a Franciscan monk residing in Oxford, author of one of the first Greek grammars, already called for such a « linguistic revolution ».

As wrote Dean P. Lockwood in Roger Bacon’s Vision of the Study of Greek (1919):

« Obviously, Greek was the master-key to the great storehouse of ancient knowledge, Hebrew and Arabic to lesser chambers. Furthermore, we must not forget that in Bacon’s day the superiority of the ancients was an indisputable fact. The modern world has outstripped the Greek and the Romans in countless ways; the medieval thinkers were still climbing toward the Hellenic standard.

« Three things were clear to Roger Bacon: the need of Greek, the contemporary ignorance of Greek, and the feasibility of acquiring Greek. The same may be said of Hebrew, but Bacon rightly put Greek first. Bacon’s program was simple:

« 1. Seek out the native Byzantine Greeks resident in Europe, preferably grammarians. The latter were very few, of course, but might be found in the Greek monasteries of Southern Italy.

« 2. From these and from any other available sources let Greek books be sought. If this program were to be carried out, Bacon confidently prophetized that results would not be long in forthcoming.« 


Leonardo Bruni

Leonardo Bruni.

Manuel Chrysoloras, arrived in winter 1397, an event remembered by one of his most famous pupils, the humanist scholar Leonardo Bruni (1369-1444) and later chancellor of Florence at the time of the Council of Florence, as a great new opportunity: there were many teachers of law, but no one had studied Greek in northern Italy for 700 years.

Thanks to Chrysoloras, Bruni and Pier Paolo Vergerio the Elder were able to read Aristotle and especially Plato in the original Greek version.

Aristotle (Logic) versus Plato (Dialectics).

Until then, in Europe, Christians knew the names of Pythagoras, Socrates and Plato by their reading of the church fathers Origen, St. Jerome and St. Augustine.

The latter, in his City of God, did not hesitate to affirm that the « Platonists », that is Plato and those who assimilated his teaching (Plato et qui eum bene intellexerunt), were superior to all other pagan philosophers.

As we have demonstrated elsewhere, in particular in our study on Raphael and the School of Athens, it is to a large extent Plato’s optimistic and Promethean philosophical approach, for whom knowledge comes above all from the capacity for hypothesis and not from the mere testimony of the senses as Aristotle claims, that clearly provided the sap that allowed the Renaissance tree to offer humanity so many wonderful fruits.

Traversari’s humanist circle

Bust of d’Ambrogio Traversari.

The most famous pupil of Chrysoloras was Ambrogio Traversari (1386-1439), who became general of the Camaldolese order. Today honored as a saint by his order, Traversari was one of the first to conceptualize the type of “Christian Humanism” that would be promoted by Nicolaus of Cusa (Cusanus) and later Erasmus of Rotterdam (who framed the concept of “Saint-Socrates”) and the latter’s admirer Rabelais, uniting Plato with the Holy Scriptures, and the fathers of the Church.

Traversari, a key organizer of the Council of Florence, was also the personal protector of the great Renaissance painter Piero della Francesca and of the architect of the Dome Filippo Brunelleschi.

Traversari’s circle of humanists, which included Cusanus and Toscanelli, regularly met at the Florentine Santa Maria degli Angeli convent.

According to Vespasiano de Bisticci, the court historian of the Court of Urbino, Traversari had weekly working sessions on Plato and Greek philosophy at the Santa Maria degli Angeli convent with the crème de la crème of European humanism in the fields of literature, theology, science, politics, architecture, infrastructure, urban planning, education and the fine arts. Among those :

  • The German cardinal-philosopher Nicholas of Cusa (Cusanus);
  • Paolo dal Pozzo Toscanelli, the great physician and cartographer, also friend and protector of Piero della Francesca and Leonardo da Vinci.
  • The erudite manuscript collector Niccolò Niccoli, adviser to Cosimo the Elder, heir to the Medici’s industrial and financial empire. Considered at the time to be the richest man in the West, Cosimo was one of the patrons of the sculptor Donatello;
  • Aeneas Sylvius Piccolomini, the future humanist pope Pius II;
  • Leonardo Bruni, the apostolic secretary of Pope Innocent VII and his three successors. He succeeded Coluccio Salutati at the chancellery of Florence (1410-1411 and 1427-1444).
  • The Italian statesman Carlo Marsuppini, passionate about Greek Antiquity, and successor of Bruni as Chancellor of the Republic of Florence after the latter’s death in 1444.
  • The philosopher, antiquarian and writer Poggio Bracciolini. After having advised no less than nine popes (!), he was appointed Chancellor of the Republic of Florence following the death of Marsuppini in 1453;
  • The politician and ambassador Gianozzi Manetti. In love with ancient Greek and Hebrew, his circle includes the éducator Francesco Filelfo, the banker Palla Strozzi and the founder of the Vatican library Lorenzo Valla ;

Chrysoloras in Florence

The Greek scholar Manuel Chrysoloras

Chrysoloras remained only a few years in Florence, from 1397 to 1400, teaching Greek, starting with the rudiments. He moved on to teach in Bologna and later in Venice and Rome. Though he taught widely, a handful of his chosen students remained a close-knit group, among the first humanists of the Renaissance. As said before, among his pupils one could count some of the foremost figures of the revival of Greek studies in Renaissance Italy.

Aside from Bruni and Ambrogio Traversari, they included Guarino da Verona and the Florentine banker Palla Strozzi (1372-1462), later the friend and protector of the sculptor and translator Lorenzo Ghiberti. It is worth noting that Strozzi paid part of Chrysoloras’ salary and had the books necessary for the new teaching brought from Constantinople and Greece.

Chrysoloras went to Rome on the invitation of Bruni, who was then secretary to Pope Gregory XII. In 1408, he was sent to Paris on an important mission from the emperor Manuel II Palaeologus (1350-1425). In 1413, he went to Germany on an embassy to the emperor Sigismund, the object of which was to decide on the site for the church council that assembled at Constance in 1415. Chrysoloras was on his way there, having been chosen to represent the Greek Church, when he died that year.

Chrysoloras translated the works of Homer and Plato’s Republic from Greek into Latin. His Erotemata (Questions-answers), which was the first basic Greek grammar in use in Western Europe, circulated initially as a manuscript before being published in 1484.

Widely reprinted, it enjoyed considerable success not only among his pupils in Florence, but also among later leading humanists, being immediately studied by Thomas Linacre at Oxford and by Erasmus when he resided at Cambridge. It’s text became the basic manual used by pupils of the Three Language College set up by Erasmus in Leuven (Belgium) in 1515.

Study during the Renaissance

Traversari meets Chrysoloras during his two stays in Florence in the summer of 1413 and in January-February 1414, and the old Byzantine scholar is impressed by the bilingual culture of the young monk; he sends him a long philosophical letter in Greek on the theme of friendship. Ambrogio himself expresses in his letters the highest consideration for Chrysoloras, and emotion for the benevolence he showed him.

It should also be noted that the rich humanist scholar Niccolò Niccoli, a great collector of books, opened his library to Traversari and put him in constant contact with the scholarly circles of Florence (notably Leonardo Bruni, and also Cosimo de Medici, of whom he was advisor), but also of Rome and Venice.

In 1423, Pope Martin V sent two letters, one to the prior of the Convent of Santa Maria degli Angeli, Father Matteo, and the other to Traversari himself, expressing his support for the great development of patristic studies in this establishment, and especially for the work of translation of the Greek Fathers carried out by Traversari.

The Pope had in mind the negotiations he was conducting at the time with the Greek Church: at the beginning of 1423, his legate Antonio de Massa returned from Constantinople and brought back with him several Greek manuscripts which were to be entrusted to Traversari for translation: notably the Adversus Græcos by Manuel Calécas, and for the classics the Lives and Doctrines of the Illustrious Philosophers by Diogenes Laërtius, a text which circulated for a long time only in Traversari’s Latin translation.

It was following these undertakings that Traversari expressed his great interest in seeing the schism between the Latin and Greek Churches resolved. At the end of 1423, Niccolò Niccoli provides Traversari with an old volume containing the entire corpus of the ancient ecclesiastical canons, and the learned monk expresses in his correspondence with the humanist his enthusiasm for being able to immerse himself in the life of the then united ancient Christian Church, and in the process, he translates into Greek a long letter from Pope Gregory the Great to the prelates of the East.

Arrival of Plato’s mind

Were Bessarion and Plethon the first to bring the entire works of Plato to Europe?

Not really. While John Bessarion did indeed bring his own collection of the “complete works of Plato” in 1437 to Florence, they had already been brought to Italy earlier, most notably in 1423 by the Sicilian Giovanni Aurispa (1376-1459), who was the teacher of Lorenzo Valla (another collaborator with whom Cusanus exposed the fraud of the “Donation of Constantine” and a major source of inspiration of Erasmus).

In 1421 Aurispa was sent by Pope Martin V to act as the translator for the Marquis Gianfrancesco Gonzaga on a diplomatic mission to the Byzantine emperor, Manuel II Palaiologos.

The Byzantine Emperor John VIII Paleologus, here portrayed as King Balthasar.

After their arrival, he gained the favor of the emperor’s son and successor, John VIII Paleologus (1392-1448), who took him on as his own secretary. Two years later, he accompanied his Byzantine employer on a mission to the courts of Europe.

Giovanni Aurispa, the first Italian, in coordination with Traversari, to bring the complete works of Plato to the West.

On 15 December 1423, 16 years prior to the Council of Florence of 1439, Aurispa arrived in Venice with the largest and finest collection of Greek texts to reach the west prior to those brought by Bessarion. In reply to a letter from Traversari, he says that he brought back 238 manuscripts.

These contained all of Plato’s works, most of them hitherto unknown in the West.

Plato’s works so far were only known very partially. In Sicily, Henry Aristippus of Calabria (1105-1162) had translated into Latin Plato’s Phaedo and Meno dialogues as early as 1160.

Evil neo-Platonist

Platonists (such as Petrarch, Traversari, Cusanus or Erasmus), have nothing to do and even violently opposed “Neo-platonist” (such as Plotinus, Proclus, Iamblicus, Marsilio Ficino and Pico della Mirandola) whose influence would create what could and should be called a “counter-Renaissance”.

Already Leibniz strongly warned against the “neo-Platonists” and demanded Plato be studied in his original writings rather than through his commentators, however brilliant they might be:

“non ex Plotino aut Marsilio Ficino, qui mira semper et mystica affectantes diceren tanti uiri doctrinam corrupere.”

[In English: Plato should be studied, but “Not from Plotinus nor Marsilio Ficino, who, by always striving to speak wonderfully and mystically, corrupt the doctrine of so great a man. »]

George Gemisthos « Plethon »

George Gemistos « Plethon » in the mural painting of Benozzo Gozzoli.

Now, let us enter Plethon, who thought Plato and Aristotle could each one play their own role. George Gemistos « Plethon » (1355-1452), was a follower of the radical “neo-Platonist” Michael Psellos (1018-1080). Around 1410 Gemistos created a “neo-Platonic” academy in Mistra (near the site of ancient Sparta) and added “Plethon” to his name to make it resemble to « Plato ». He was also an admirer of Pythagoras, Plato, and the “Chaldean Oracles”, which he ascribed to Zoroaster.

Gemistos came for the first time to Florence when he was fifteen years old and became an authority in Mistra. So at the time of the Council, the Emperor, John VIII Paleologus, knew they were going to face some of the finest minds in the Roman Church on their own soil; he therefore wanted the best minds available in support of the Byzantine cause to accompany him. Consequently, the Emperor appointed George Gemistos as part of the delegation. Despite the fact that he was a secular philosopher — a rare creature at this time in the West — Gemistos was renowned both for his wisdom and his moral rectitude. Among the clerical lights in the delegation were John Bessarion, Metropolitan of Nicaea, and Mark Eugenikos, Metropolitan of Ephesus. Both had been students of Gemistos in their youth. Another non-clerical member of the delegation was George Scholarios: both a future adversary of Gemistos and a future Patriarch of Constantinople as Gennadios II. Initially, Gemistos was opposed to the unity of the western and eastern churches.

Not assisting at every theological debate during the Council of Florence of 1439, he went in town to give lectures to intellectuals and nobles on the essence of Plato and Neo-platonic philosophy. Plethon also brought with him the text of the “Chaldean Oracles” attributed to Zoroaster.

While most of Plethon’s writing were burned, since he was suspected of heresy, a large number of Plethon’s autograph manuscripts ended up in the hands of his former student Cardinal Bessarion. On Bessarion’s death, he willed his personal library to the library of San Marco in Venice (where over 4000 Greeks resided). Among these books and manuscripts was Plethon’s Summary of the Doctrines of Zoroaster and Plato. This Summary was a summary of the Book of Laws, which Plethon wrote inspired by Plato’s laws. The Summary is a mixture of polytheistic beliefs with neo-Platonist elements.

While John Bessarion (1403-1472), a real humanist, took part in the Council in Ferrara (1437) and Florence (1439), and as the representative of the Greek, signed the decree of the Florentine Union, he held nevertheless to the principle: “I honor and respect Aristotle, I love Plato” (colo et veneror Aristotelem, amo Platonem). For him Platonic thought would have the right of citizenship equal to Aristotelian thought in the Latin world only when it appeared in an irenic interpretation to Aristotelianism and as not in contradiction with Christianity, since only such an interpretation of Platonism could succeed at that time.


Cosimo di Medici and Ficino

Giovanni di Bicci de Medici

Did the Medicis finance a crash program to translate the works of Plato?

In 1397, Giovannni « di Bicci » de’ Medici (1360-1429) set up the Medici Bank. Giovanni owned two wool factories in Florence and was a member of two guilds: the Arte della Lana and the Arte del Cambio.

In 1402, he was one of the judges on the jury that selected Lorenzo Ghiberti’s design for the bronzes for the doors of the Baptistery of Florence.

In 1418, Giovanni di Bicci, wishing to endow his family with their own church, entrusted Filippo Brunelleschi, future architect of the famous dome of the Cathedral of Santa Maria del Fioro, the Duomo, with the task of radically transforming the basilica church of San Lorenzo and ordered Donatello to execute the sculptures.

Politically, the Medici family did not come to power until 1434, three years before the Council of Florence and at a time when the Renaissance was already in full swing.

Cosimo di Medici, the elder

Admittedly, Giovanni’s son and inheritor of his financial empire, Cosimo di Medici (1389-1464), known as the richest man of his epoch, became so inspired by Plethon that he acquired a complete library of Greek manuscripts. He bought a copy of the Platonic Corpus (24 dialogues) from Plethon, and a copy of the Corpus Hermeticum of Hermes Trismegistus, acquired in Macedonia by an Italian monk, Lionardo of Pistoia. Cosimo also decided to initiate a project to translate from the Greek into Latin, the totality of Plato’s works.

However, as said before, Leonardo Bruni (1369-1444), who after having been papal secretary became chancellor of the Florentine republic from 1427 till 1444, had already translated close to all of Plato’s works from Greek into Latin.

It should be underlined that the translator chosen by Cosimo was Marsilio Ficino (1433-99), the son of his personal physician and only five years old at the time of the Council of Florence in 1439. Cosimo had some severe doubts concerning Ficino’s capacities as translator. When the latter offers in 1456 his first translation, The Platonic Institutions, Cosimo asks him kindly not to publish this work and to learn first the Greek language… which Ficino learns then from Byzantine scholar John Argyropoulos (1415-1487), an Aristotelian pupil of Bessarion who rejected the Council of Florence’s epistemological revolution.

But seeing his age advancing and despite his unfortunate descent into corruption, Cosimo finally gave him the post. He allocates him an annual stipend, the required manuscripts and a villa at Careggi, close to Florence, where Ficino would set up his “Platonic Academy” with a handful of followers, among which Angelo Poliziano (1454-94), Giovanni Pico della Mirandola (1463-1494) and Cristoforo Landino (1424-1498).

The evil « neo-Platonic » Marsilio Ficino (left) with some followers of his fake Platonic Academy: Cristoforo Landino, Angelo Poliziano and Demetrios Chalkondyles.

Ficino’s “Academy”, taking up the ancient neo-platonic tradition of Plotinus and Porphyry (as Ficino states himself) would organize each year a ceremonial banquet “neglected since one thousand two hundred years” on November 7, thought to be simultaneously the birthday of Plato and the day of his death.

After the dinner, the attendants would read Plato’s Symposium and then each of them would comment on one of the speeches. The comments are demonstrations, without any real dialogue and void of the essence of real platonic thinking: irony. On top of that it is remarkable that most gatherings of Ficino’s academy were attended by the ambassador of Venice in Florence, notably the powerful oligarch Bernardo Bembo (1433-1519), father of “poet” cardinal Pietro Bembo, later special advisor to the evil Genovese “Warrior Pope” Julius II.

It was this alliance of the increasingly more degenerated Medici family, the Venetian Empire’s maritime slave trade and the anti-Platonic neo-Platonists that gained dominant influence over the Curia of the Roman Catholic Church. The Medici’s clearly disliked Da Vinci (who never got an order from the Vatican and subsequently left Italy), and through their propaganda man Vasari made the world belief that the Renaissance was exclusively their baby.

But before translating Plato, and at the specific demand of Cosimo, Ficino translated first (in 1462) the Orphic Hymns, the Sayings of Zoroaster, and the Corpus Hermeticum of Hermes Trismegistus the Egyptian (between 100 and 300 after BC).

It will be only in 1469 that Ficino will finish his translations of Plato after a nervous breakdown in 1468, described by his contemporaries as a crisis of “profound melancholy”.

In 1470, and with a title plagiarized from Proclus, Ficino wrote his “Platonic Theology or on the immortality of the Soul.” While completely taken in by esoteric neo-Platonism, he became a priest in 1473 and wrote “The Christian Religion” without changing his neo-platonic pagan outlook, producing an entire new series of translations of the neo-Platonists of Alexandria: he translated the fifty-four books of Plotinus “Enneads”, Porphyry and Proclus.

Ficino, in his “Five Questions Concerning the Mind” explicitly attacks the Promethean conception of man:

« Nothing indeed can be imagined more unreasonable than that man, who through reason is the most perfect of all animals, nay, of all things underheaven, most perfect, I say, with regard to that formal perfection that is bestowed upon us from the beginning, that man, also through reason, should be the least perfect of all with regard to that final perfection for the sake of which the first perfection is given. This seems to be that of the most unfortunate Prometheus. Instructed by the divine wisdom of Pallas, he gained possession of the heavenly fire, that is, reason. Because of this very possession, on the highest peak of the mountain, that is, at the very height of contemplation, he is rightly judged most miserable of all, for he is made wretched by the continual gnawing of the most ravenous of vultures, that is, by the torment of inquiry…” (…) “What do the philosophers say to these things? Certainly, the Magi, followers of Zoroaster and Hostanes, assert something similar. They say that, because of a certain old disease of the human mind, everything that is very unhealthy and difficult befalls us…« 

The Florentine Neo-Platonic Academy, backed by the libido-driven Lorenzo de Medici (1449-1492) “The Magnificent”, will serve as a “Delphic” operation: defend Plato to better destroy him; praise him in such terms that he becomes discredited. And especially destroying Plato’s influence by opposing religion to science, at a point where Cusanus and his followers are succeeding to do exactly the opposite. Isn’t it bizarre that Cusa’s name doesn’t appear a single time in the works of Ficino or Pico della Mirandola, so overfed with all-encompassing knowledge?

Lorenzo did protect artists such as Sandro Botticelli, whose Birth of Venus exemplifies Lorenzo’s neo-platonic symbolism.

Infected with this evil neo-Platonism, Thomaso Inghirami (1470-1516), the chief librarian of pope Julius II, will accomplish nothing but this when dictating to the painter Raphaël the content of the Stanza in the Vatican some decades later.

Neo-platonic “melancholy”, which Albrecht Dürer went after in his famous engraving, will become the matrix for the romantics, the destructive virus affecting the symbolists and the so-called modern school. As for the revolution that Greek studies will bring about in the sciences, I refer you to our article on this website: 1512-2012: From Cosmography to Cosmonauts, Gerard Mercator and Gemma Frisius.

To conclude, here is a short list of translators, and I certainly forgot some of them, and their mastery of foreign languages. Even if some of them can’t be called « humanists », let’s thank them for everything they allowed us to discover. I’m profoundly convinced that without them, man would certainly not have set foot on the Moon!

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Tête grecque

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