Les oreilles de De l'Orme

Zara, Vasco

doi:10.1484/m.er-eb.4.00355

Cited by 1 publication

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“…What is more, there are vast differences between the two in terms of their terminological, and therefore conceptual, framework. In Épître aux lecteurs, for example, De l'Orme only uses the lexeme harmony once, later to completely abandon it in favour of references to acoustics (Zara 2016). It is therefore more likely that the 'divine' he attached to 'proportion' was extrapolated from Pacioli's De divina proportione, which has nothing at all to do with musicfor him, sight was more important than hearing.…”

Section: From Ratio To Oratiomentioning

confidence: 99%

Music, Architecture, Proportion and the Renaissance Way of Thinking

Zara¹

2020

European Review

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During the Renaissance, the language of proportion became a unified theory capable of encompassing the understanding of the world within a coherent theological, philosophical and artistic framework. Music, with its harmonic paradigm, plays a key role in this construction. From the fifteenth century through to the end of the sixteenth century, architects and architectural theorists made reference, both in new treatises and commentaries to Vitruvius, to musical matters, transforming architecture into the summa of knowledge. The affinity to music was grounded on both a common mathematical and rhetoric gnosiology. Formerly conceived of as ideal, numbers became eloquent, reinforcing the quantitative paradigm of proportion with its qualitative one. The language of proportion as a compositional tool reveals the shift between the Middle Ages and the Renaissance: while the Medieval tèchne based on modular thinking provides beauty and universal truth using the technique of repetition, the Humanist paradigm of variety produces pleasure and individual truth – a condition typical of the premodern.

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Section: From Ratio To Oratiomentioning

confidence: 99%