Ficino And Renaissance Neoplatonism

In 1484, humanist philosopher and theologian Marsilio Ficino published the first complete Latin translation of Plato's extant works. Students of Plato now had access to the entire range of the dialogues, which revealed to Renaissance audiences the rich ancient landscape of myths, allegories, philosophical arguments, etymologies, fragments of poetry, other works of philosophy, aspects of ancient pagan religious practices, concepts of mathematics and natural philosophy, and the dialogic nature of the Platonic corpus's interlocutors. By and large, Renaissance readers in the Latin West encountered Plato's text through Ficino's translations and interpretation. In Plato's Persona, Denis J.-J. Robichaud provides the first synthetic study of Ficino's interpretation of the Platonic corpus. Robichaud analyzes Plato's works in their original Greek and in Ficino's Latin translations, as well as Ficino's non-Platonic writings and correspondence, in the process uncovering new aspects of Ficino's intellectual work habits. In his letters and works, Ficino self-consciously imitated a Platonic style of prose, in effect devising a persona for himself as a Platonic philosopher. Plato's dialogues are populated with a wealth of literary characters with whom Plato interacts and against whom Plato refines his own philosophies. Reading through Ficino's translations, Robichaud finds that the Renaissance philosopher seeks an understanding of Plato's persona(e) among all the dialogues' interlocutors. In effect, Ficino assumed the role of Plato's Latin spokesperson in the Renaissance. Plato's Persona is grounded in an extensive study of scholarship in Renaissance humanism, classics, philosophy, and intellectual history, and contextualizes Ficino's intellectual achievements within the contemporary Christian orthodox view of Platonism. Ficino was an influential figure in the early Italian Renaissance: the key intermediary between Greek and Latin, and between manuscript and print, giving voice to Plato and access to the ancient frameworks needed to interpret his dialogues.

This volume consists of 21 essays on Marsilio Ficino (1433-99), the Florentine scholar-philosopher-magus-priest who was the architect of Renaissance Platonism. They cast fascinating new light on his theology, philosophy, and psychology as well as on his influence and sources.

Originally published in 1935, the aim of this title is first to give a clear outline of Florentine Neoplatonism, and then to consider its influence on art and literature during a period that extends roughly from the age of Lorenzo de’ Medici to the middle of the sixteenth century and the beginnings of the Counter-Reformation. No rigid divisions of time have been fixed, but with few exceptions the works discussed may be placed between these bounds. Even within these limits it would require a work of greater dimensions that the present to exhaust so large a subject in all its bearings. The leaven of Neoplatonism had penetrated the thought of the age in many directions; this study is confined to such of its manifestations as were, in a somewhat narrow sense, artistic and literary and to the use and abuse of philosophical ideas for aesthetic purposes.

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renowned Renaissance artists (such as Botticelli, Leonardo, or Michelangelo) created imaginative syntheses between their art and contemporary cosmology, philosophy, theology, and magic. The Neoplatonism in the books by Marsilio Ficino and Giovanni Pico della Mirandola became widely acknowledged for its lasting influence on art. It thus became common knowledge that Renaissance artists were not exclusively concerned with problems intrinsic to their work but that their artifacts encompassed a much larger intellectual and cultural horizon. This volume brings together historians concerned with the history of their own discipline – and also those whose research is on the art and culture of the Italian Renaissance itself – with historians from a wide variety of specialist fields, in order to engage with the contested field of iconology. The book will be of interest to scholars working in art history, Renaissance history, Renaissance studies, historiography, philosophy, theology, gender studies, and literature.

Did the Florentine philosopher Marsilio Ficino (1433-99) influence the art of his time? This book starts with an exploration of Ficino’s views on the imagination and discusses whether, how and why these ideas may have been received in Italian Renaissance works of art.

Platonic Theology is the visionary and philosophical masterpiece of Marsilio Ficino (1433–1499), the Florentine scholar-philosopher-magus largely responsible for the Renaissance revival of Plato. This work, translated into English for the first time, is a key to understanding the art, thought, culture, and spirituality of the Renaissance.

Fifteen of these essays by one of the leading authorities on Renaissance Platonism explore the complex philosophical, hermeneutical, and mythological issues addressed by the Florentine, Marsilio Ficino (1433-99). Ficino was the pre-eminent Platonist of his time and a distinguished philosopher, scholar and magus who had an enormous influence on the intellectual and cultural life of two and a half centuries, and who is one of the most important witnesses to the preoccupations of his age, above all to its fascination with ancient poetry and philosophy and their uneasy accommodation as an ancient "theology" with Christianity. Two further essays treat of cognate themes taken up by Ficino‘s younger friend and rival, the dazzling prince of Concordia, Giovanni Pico della Mirandola (1463-94), who was fascinated by Platonism in his youth but also by other philosophical legacies from the past, including Cabala and the Scholastic Aristotelianism of the Middle Ages. This volume‘s initial essay serves as an introduction to the comprehensive phenomenon of Renaissance Platonism.