Cuerpos del conocimiento: armaduras del Renacimiento y la ingeniería de la mente
DOI:
https://doi.org/10.5944/etfvii.6.2018.22948Palabras clave:
Armadura, política corporal, prótesis, studiolo (taller de arte), historia natural, sala de curiosidades, automata, Armor, body politics, mnemonics, prosthesis, studiolo, natural history, chamber of curiositiesResumen
El presente ensayo traza el papel de las armaduras en las costumbres renacentistas del conocimiento. Desde la aparición de las armas de pólvora, las armaduras dejaron de ser apropiadas para el combate, si bien todavía constituyeron una pieza central de representaciones principescas y fueron ampliamente expuestas en espacios de colección. En lugar de ilustrar las virtudes caballerescas o los estilos como antigüedades, estas vestimentas señalan, a mi entender, un giro hacia el conocimiento fisiológico de la moda. A través de la yuxtaposición de dos conceptos clave de las armaduras –uno como vestimenta gótica emplazada en el studiolo (taller de arte), otro como decoración «grotesca» en una sala de curiosidades – mi texto indaga cómo estos elementos ajustados al cuerpo confrontaban las sensibilidades epistemológicas y políticas. Mientras que las primeras actuaban como una prótesis que fortalece la mente del que las usa, las segundas evocan la imaginería de la historia natural para recolocar el orden de las cosas alrededor de la autoridad personal. Las armaduras enfocan de este modo la interacción entre la cultura material y la política en el desarrollo del sujeto moderno.
This essay charts the role of armor in Renaissance practices of knowledge. Since the advent of gunpowder warfare, armor was largely unfit for combat, yet still became a centerpiece of princely representation and was prominently displayed in early collection spaces. Rather than illustrating chivalric virtues or antiquarian taste, such suits in my reading signal a shift towards a physiological fashioning of learning. Through juxtaposing two key sets of armor – one ‘gothic’ suit situated in the studiolo, the other a ‘grotesque’ garniture for a chamber of curiosities –, my paper traces how these embodied settings conflated epistemological with political sensibilities. While the earlier ensemble acted as a mnemonic ‘prosthesis’ that enhanced the mind of the wearer, the latter evoked natural history imagery to remap the order of things around personal authority. Objects of armor thus spotlight the interplay of material and political culture in engineering the early modern subject.
Descargas
Citas
Primary sources:
[Anon.:] «A Method for Recollecting the Gospels», trans. HALPORN, James W., in CARRUTHERS, Mary and ZIOLKOWSKI, Jan M. (eds.): The Medieval Craft of Memory: An Anthology of Texts and Pictures. Philadelphia, University of Pennsylvania Press, 2002, pp. 255–293.
ARIOSTO, Ludovico: Orlando Furioso. Ed. ZINGARELLI, Nicola. 7th edition. Milan, Hoepli, 1987.
CARTARI, Vincenzo: Le Imagini de i Dei de gli Antichi. Ed. AUZZAS, Ginetta. Vicenza, Pozza, 1996.
[CICERO:] Rhetorica ad Herennium. Trans. CAPLAN, Harry. Cambridge and London, Harvard University Press, 1954.
DA BISTICCI, Vespasiano: Renaissance Princes, Popes, and Prelates: «The Vespasiano Memoirs:» Lives of Illustrious Men of the XVth Century. Trans. GEORGE, William and WATERS, Emily. New York, Evanston and London, Harper & Row, 1963.
DI GIORGIO MARTINI, Francesco: Trattati di Architettura, Ingegneria e Arte Militare. Ed. MALTESE, Corrado. Milan, Il Polifilo, 1967.
EIXIMENIS, Francesc: «On Two Kinds of Order that Aid Understanding and Memory», trans. RIVERS, Kimberly, in CARRUTHERS, Mary and ZIOLKOWSKI, Jan M. (eds.): The Medieval Craft of Memory: An Anthology of Texts and Pictures. Philadelphia, University of Pennsylvania Press, 2002, pp. 189–204.
ERASMUS of ROTTERDAM: The Manual of the Christian Knight. London, Morrison & Gibb, 1905.
GABRIELE, Mino (ed.): L’Arte della Memoria per Figure, con il Fac-Simile dell’Ars Memorandi Notabilis per Figuras Evangelistarum (1470). Trento, La Finestra, 2006.
KUHLMANN, Quirinus: Lehrreicher Geschicht=Herold. Breslau, Johann Meyer, 1673.
PICCOLOMINI, Enea Silvio: «Commentarii Rerum Memorabilium» / «Il Libro dei Ricordi», in GARIN, Eugenio (ed.): Prosatori Latini del Quattrocento. Milan and Naples, Ricciardi, 1952, pp. 663–687.
PICCOLOMINI, Enea Silvio: «De Liberorum Educatione» / «The Education of Boys», in KALLENDORF, Craig W. (ed. and trans.): Humanist Educational Treatises. Cambridge and London, Harvard University Press, 2002, pp. 126–259.
PLATO: The Republic. Trans. GRIFFITH, Tom. Ed. FERRARI, G. R. F. Cambridge, Cambridge University Press, 2000.
PONTANO, Giovanni: «De Splendore» / «La Virtù dello Splendore», in TATEO, Francesco (ed. and trans.): I Libri delle Virtù Sociali. Rome, Bulzoni, 1999, pp. 222–243.
PUBLICIUS, Jacobus: «The Art of Memory», trans. BAYERLE, Henry, in CARRUTHERS, Mary and ZIOLKOWSKI, Jan M. (eds.): The Medieval Craft of Memory: An Anthology of Texts and Pictures. Philadelphia, University of Pennsylvania Press, 2002, pp. 226–254.
SIMLER, Georg (ed.): Ars Memorandi Memorabiles Evangelistarum Figurae. Pforzheim, Thomas Anshelm, 1505.
WOTTON, Edward: De Differentiis Animalium Libri Decem. Paris, Michel de Vascosan, 1552.
Secondary sources:
A. D. FRASER JENKINS, Anthony David: «Cosimo de’ Medici’s Patronage of Architecture and the Theory of Magnificence», Journal of the Warburg and Courtauld Institutes, 33 (1970), pp. 162–170.
ARASSE, Daniel: «Frédéric dans son Cabinet: Le Studiolo d’Urbino», in BONNEFOY, Yves (ed.): Le Sujet dans le Tableau: Essais d’Iconographie Analytique. Paris, Flammarion, 1997, pp. 17–30.
ARCHAMBAULT, Paul: «The Analogy of the ‘Body’ in Renaissance Political Literature», Bibliothèque d’Humanisme et Renaissance, 29 (1967), pp. 21–53.
ARONBERG LAVIN, Marilyn: «Piero della Francesca’s Montefeltro Altarpiece: A Pledge of Fidelity», The Art Bulletin, 51 (1969), pp. 367–371.
BARTH, Fritz: Zeichen des Wehrhaften: Festungsbauten von Francesco di Giorgio Martini. Stuttgart and London, Axel Menges, 2011.
BECKER, Sebastian: Dynastische Politik und Legitimationsstrategien der della Rovere: Potenziale und Grenzen der Herzöge von Urbino (1508–1631). Berlin and Boston, De Gruyter, 2015.
BELTING, Hans: Bild-Anthropologie: Entwürfe für eine Bildwissenschaft. Munich, Fink, 2001.
BETTANY-SALTIKOV, Josette et al.: «Management of Spinal Deformities and Evidence of Treatment Effectiveness», The Open Orthopaedics Journal, 11 (2017), pp. 1521–1547.
BOCCIA, Lionello Giorgio: Le Armature di S. Maria delle Grazie di Curtatone di Mantova e l’Armatura Lombarda del ’400. Busto Arsizio, Bramante, 1982.
BOCCIA, Lionello Giorgio: «Curiosa di Armamentaria Ariostea», in BENTINI, Jadranka (ed.): Signore Cortese e Umanissimo: Viaggio intorno a Ludovico Ariosto. Exhibition Catalogue. Venice, Marsilio, 1994, pp. 48–59.
BODART, Diane: «Le Prince Miroir: Métaphores Optiques du Corps Politique», in MOREL, Philippe (ed.): Le Miroir et l’Espace du Prince dans l’Art Italien de la Renaissance. Tours, PUFR, 2012, pp. 123–142.
BOHR, Michael: Die Entwicklung der Kabinettschränke in Florenz. Frankfurt a. M., Peter Lang, 1993.
BOLZONI, Lina: La Stanza della Memoria: Modelli Letterari e Iconografici nell’Età della Stampa. Turin, Einaudi, 1995.
BREDEKAMP, Horst: Antikensehnsucht und Maschinenglauben: Die Geschichte der Kunstkammer und die Zukunft der Kunstgeschichte. Berlin, Wagenbach, 2000.
BREDEKAMP, Horst: Image Acts: A Systematic Approach to Visual Agency. Ed. and trans. CLEGG, Elizabeth. Berlin and Boston, De Gruyter, 2018.
CAMPBELL, Stephen: The Cabinet of Eros: Renaissance Mythological Painting and the Studiolo of Isabella d’Este. New Haven, Yale University Press, 2004.
CARRUTHERS, Mary: The Book of Memory: A Study of Memory in Medieval Culture. 2nd edition. Cambridge, Cambridge University Press, 2008.
CHELES, Luciano: The Studiolo of Urbino: An Iconographic Investigation. Wiesbaden, Ludwig Reichert, 1986.
CHRISTIANSEN, Keith and WEPPELMANN, Stefan (eds.): The Renaissance Portrait from Donatello to Bellini. Exhibition Catalogue. New Haven, Yale University Press, 2011.
CIERI VIA, Claudia: «Disegno e Ornamento nell’Opera Pittorica di Francesco di Giorgio Martini», in FIORE, Francesco Paolo (ed.): Francesco di Giorgio alla Corte di Federico da Montefeltro. Florence, Olschki, 2004, vol. 1, pp. 229–247.
CLOUGH, Cecil H.: «Federigo da Montefeltro’s Patronage of the Arts, 1468–1482», Journal of the Warburg and Courtauld Institutes, 36 (1973), pp. 129–144.
CLOUGH, Cecil H.: «Art as Power in the Decoration of the Study of an Italian Renaissance Prince: The Case of Federico da Montefeltro», Artibus et Historiae, 16 (1995), pp. 19–50.
D’ANTONI, Anthony and TERZULLI, Stephanie: «Federico di Montefeltro’s Hyperkyphosis: A Visual-Historical Case Report», Journal of Medical Case Reports, 2 (2008).
DASTON, Lorraine and PARK, Katharine: Wonders and the Order of Nature, 1150–1750. New York, Zone Books, 1998.
FELFE, Robert: Naturform und Bildnerische Prozesse: Elemente einer Wissensgeschichte in der Kunst des 16. und 17. Jahrhunderts. Berlin and Boston, De Gruyter, 2015.
FINDLEN, Paula: Possessing Nature: Museums, Collecting, and Scientific Culture in Early Modern Italy. Berkeley, University of California Press, 1996.
FINUCCI, Valeria: The Prince’s Body: Vincenzo Gonzaga and Renaissance Medicine. Cambridge and London, Harvard University Press, 2015.
FISCHEL, Angela: Natur im Bild: Zeichnung und Naturerkenntnis bei Conrad Gessner und Ulisse Aldrovandi. Berlin, Gebrüder Mann, 2009.
FORGAS, Joseph P.: «Mood and Judgment: The Affect Infusion Model (AIM)», Psychological Bulletin, 117 (1995), pp. 39–66.
FOUCAULT, Michel: The Order of Things: An Archaeology of the Human Sciences. Trans. SHERIDAN, Alan. New York, Vintage, 1994.
FOUCAULT, Michel: Discipline and Punish: The Birth of the Prison. Trans. SHERIDAN, Alan. New York, Vintage, 1995.
FREEDBERG, David: The Eye of the Lynx: Galileo, his Friends and the Beginnings of Modern Natural History. Chicago, University of Chicago Press, 2002.
FUCHS, Thomas: «Das Gedächtnis des Leibes», Phänomenologische Forschungen, 5 (2000), pp. 71–89.
GAUTHIER, René Antonin: Magninimité: L’Idéal de la Grandeur dans la Philosophie Païenne et dans la Théologie Chrétienne. Paris, J. Vrin, 1951.
GHERMANI, Naïma: Le Prince et son Portrait: Incarner le Pouvoir dans l’Allemagne du XVIe Siècle. Rennes, PUR, 2009.
GRAMACCINI, Norberto: «Das genaue Abbild der Natur: Riccios Tiere und die Theorie des Naturabgusses seit Cennino Cennini», in BECK, Herbert and BOL, Peter C. (eds.): Natur und Antike in der Renaissance. Exhibition Catalogue. Frankfurt a. M., Liebighaus, 1985, pp. 198–225.
GREENBLATT, Stephen: «Resonance and Wonder», in KARP, Ivan and LAVINE, Steven D. (eds.): Exhibiting Cultures: The Poetics and Politics of Museum Display. Washington and London, Smithsonian Institution Press, 1990, pp. 42–56.
JONES, Ann Rosalin and STALLYBRASS, Peter: Renaissance Clothing and the Materials of Memory. Cambridge, Cambridge University Press, 2000.
KARVOUNI, Maria: «Demas: The Human Body as a Tectonic Construct», in PÉREZ-GÓMEZ, Alberto and PARCELL, Stephen (eds.): Chora Three: Intervals in the Philosophy of Architecture. Montreal and Kingston, McGill-Queen’s University Press, 1999, pp. 103–124.
KENSINGER, Elizabeth A.: «Remembering the Details: Effects of Emotion», Emotion Review, 1 (2009), pp. 99–113.
KIRKBRIDE, Robert: Architecture and Memory: The Renaissance Studioli of Federico da Montefeltro. New York, Columbia University Press, 2008.
KLEMM, Tanja: Bildphysiologie: Wahrnehmung und Körper in Mittelalter und Renaissance. Berlin, Akademie-Verlag, 2013.
KLIER, Andrea: Fixierte Natur: Naturabguss und Effigies im 16. Jahrhundert. Berlin, Reimer, 2004.
KRIS, Ernst: «Der Stil ‘rustique’: Die Verwendung des Naturabgusses bei Wenzel Jamnitzer und Bernard Palissy», in: Erstarrte Lebendigkeit: Zwei Untersuchungen. Zürich, diaphanes, 2012, pp. 27–135.
KRISTELLER, Paul Oskar: «The Active and the Contemplative Life in Renaissance Humanism», in VICKERS, Brian (ed.): Arbeit, Muße, Meditation: Betrachtungen zur «Vita Activa» und «Vita Contemplativa». Zürich, Verlag der Fachvereine, 1985, pp. 133–152.
KROIS, John Michael: «Bildkörper und Körperschema», in BREDEKAMP, Horst and LAUSCHKE, Marion (eds.): Bildkörper und Körperschema: Aufsätze zur Verkörperungstheorie Ikonischer Formen. Berlin, Akademie-Verlag, 2011, pp. 252–271.
LA ROCCA, Donald J.: «Monsters, Heroes, and Fools: A Survey of Embossed Armor in Germany and Austria, ca. 1475 – ca. 1575», in GROENENDIJK, Gert (ed.): A Farewell to Arms: Studies on the History of Arms and Armour. Delft, Legermuseum, 2004, pp. 34–55.
LAUBE, Stefan: Von der Reliquie zum Ding: Heiliger Ort – Wunderkammer – Museum. Berlin, Akademie-Verlag, 2011.
LEUCKART: «Die Zoophyten: Ein Beitrag zur Geschichte der Zoologie», Archiv für Naturgeschichte, 41 (1875), pp. 70–110.
LEYDI, Silvio: «Mobili Milanesi in Acciaio e Metalli Preziosi nell‘Età del Manierismo», in GUERRINI, Alessandra (ed.): Fatto in Italia: Dal Medioevo al Made in Italy. Exhibition Catalogue. Cinisello Balsamo, Silvana, 2016, pp. 121–137.
MANN, James: «The Sanctuary of the Madonna delle Grazie, with Notes on the Evolution of Italian Armour during the Fifteenth Century», Archaeologia, 80 (1930), pp. 117–142.
MANN, James: «A Further Account of the Amour Preserved in the Sanctuary of the Madonna delle Grazie near Mantua», Archaeologia, 87 (1938), pp. 311–351.
MASSING, Jean Michel: «From Manuscript to Engravings: Late Medieval Mnemonic Bibles», in BERNS, Jörg Jochen and NEUBER, Wolfgang (eds.): Ars Memorativa: Zur Kulturgeschichtlichen Bedeutung der Gedächtniskunst, 1400–1750. Tübingen, Niemeyer, 1993, pp. 101–115.
MUSOLFF, Hans-Ulrich: Erziehung und Bildung in der Renaissance: Von Vergerio bis Montaigne. Vienna, Cologne and Weimar, Böhlau, 1997.
OLMI, Giuseppe: «Alle Origini della Politica Culturale dello Stato Moderno: Dal Collezionismo Privato al ‘Cabinet du Roy’», La Cultura, 16 (1978), pp. 471–484.
PIPERNO, Franco: L’Immagine del Duca: Musica e Spettacolo alla Corte di Guidubaldo II Duca d’Urbino. Florence, Olschki, 2001.
POSIO, Vannozzo: Le Armature delle Grazie tra Storia e Leggenda. Modena, Mucchi, 1991.
PYHRR, Stuart W. and GODOY, José-A. (eds.): Heroic Armor of the Italian Renaissance: Filippo Negroli and his Contemporaries. Exhibition Catalogue. New York, Abrams, 1998.
RICCARDI-CUBITT, Monique: The Art of the Cabinet. London, Thames and Hudson, 1992.
RIVERS, Kimberly: «Memory and Medieval Preaching: Mnemonic Advice in the Ars Praedicandi of Francesc Eiximenis (ca. 1327–1409)», Viator, 30 (1999), pp. 253–284.
ROSENBERG, Charles: «The Double Portrait of Federico and Guidobaldo da Montefeltro: Power, Wisdom, and Dynasty», in CERBONI BAIARDI, Giorgio, CHITTOLINI, Giorgio and FLORIANI, Piero (eds.): Federico di Montefeltro: Lo Stato, le Arti, la Cultura. Rome, Bulzoni, 1986, vol. 2, pp. 213–222.
ROSHEIM, Mark Elling: Leonardo’s Lost Robots. Berlin and Heidelberg, Springer, 2006.
SCALINI, Mario: Armature all’Eroica dei Negroli. Florence, Museo Nazionale del Bargello, 1987.
SCALINI, Mario: «Il Poema Epico Cinquecentesco, Armi all’Eroica e da Pompa», in: Armi e Armati: Arte e Cultura delle Armi nella Toscana e nell’Italia del Tardo Rinascimento dal Museo Bardini e dalla Collezione Corsi. Exhibition Catalogue. Florence, Centro Di, 1988, pp. 13–27.
SCALINI, Mario: «La Celata di Borghese Borghesi ed altri Copricapi Onorifici del Quattrocento», OPD Restauro, 5 (1993), pp. 137–141.
SCALINI, Mario (ed.): Armi e Potere nell’Europa del Rinascimento. Exhibition Catalogue. Milan, Silvana, 2018.
SCHACTER, Daniel L.: «Implicit Memory: History and Current Status», Journal of Experimental Psychology: Learning, Memory, and Cognition, 13 (1987), pp. 501–518.
SIKORSKY, Darius J.: «Il Palazzo Ducale di Urbino sotto Guidobaldo II (1538–74): Bartolomeo Genga, Filippo Terzi e Federico Brandani», in POLICHETTI, Maria Luisa (ed.): Il Palazzo di Federico da Montefeltro: Restauri e Ricerche. Urbino, QuattroVenti, 1985, pp. 67–90.
SIMONETTA, Marcello (ed.): Federico da Montefeltro and his Library. Exhibition Catalogue. Milan, Y. Press, 2007.
SPRINGER, Carolyn: Armour and Masculinity in the Italian Renaissance. Toronto, University of Toronto Press, 2010.
TADDEI, Mario: I Robot di Leonardo da Vinci: La Meccanica e i Nuovi Automi nei Codici Svelati. Milan, Leonardo3, 2007.
TOEPFER, Georg: Historisches Wörterbuch der Biologie: Geschichte und Theorie der Biologischen Grundbegriffe. Stuttgart and Weimar, J. B. Metzler, 2011.
TRANINGER, Anita: «Domänen des Gedächtnisses: Das Scheitern der Mnemotechnik an der memoria des Absoluten Herrschers», in BERNS, Jörg Jochen and NEUBER, Wolfgang (eds.): Seelenmaschinen: Gattungstraditionen, Funktionen und Leistungsgrenzen der Mnemotechniken vom Späten Mittelalter bis zum Beginn der Moderne. Vienna, Cologne and Weimar, Böhlau, 2000, pp. 37–51.
VALLET, Guillaume, BRUNEL, Lionel and VERSACE, Rémy: «The Perceptual Nature of the Cross-Modal Priming Effect: Arguments in Favor of a Sensory-Based Conception of Memory», Experimental Psychology, 57 (2010), pp. 376–382.
WEBB, Jennifer: «‘All that is Seen’: Ritual and Splendor at the Montefeltro Court in Urbino», in CAMPBELL, Erin J., MILLER, Stephanie R. and CONSAVARI, Elizabeth Carroll (eds.): The Early Modern Italian Domestic Interior, 1400–1700: Objects, Spaces, Domesticities. Farnham, Ashgate, 2013, pp. 191–204.
WORTHEN, James B. and HUNT, R. Reed: Mnemonology: Mnemonics for the 21st Century. New York, Psychology Press, 2010.
YATES, Frances: The Art of Memory = Selected Works, vol. 3. London and New York, Routledge, 1966.
YATES, Frances: «Architecture and the Art of Memory», Architectural Association Quarterly, 12 (1980), pp. 4–13.
