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5 4 Humanism mathematician Piero della Francesca Humanism mathematical

The mathematician and surveyor


The art of Piero della Francesca became one of the most conclusive expression of the first
renaissance generation. Are the direct ancestors Masaccio and Beato Angelico, he
express their achievements in perspective. The prospect gave a risposta all’esigenza, propria  delle culture umanistiche, di ricondurre l’esperienza del mondo alle norme chiare della ragione  umana. Nei dipinti nasceva il problema di rappresentare gli uomini e le cose su una superficie piana,  aggiungendo alle due dimensioni di altezza e di larghezza, quella illusoria della profondità. Proprio  con il "De Prospectiva Pingendi" la prospettiva avrà una formulazione più analitica e costantemente  fondata su basi geometriche euclidee, specialmente nel ‘400 fiorentino, per questo motivo Piero  della Francesca riceverà also the name of Euclid Renaissance.
With the prospect of the paintings of Piero della Francesca, the new criteria for representation of the real replace the static images of the thirteenth-century painting and look in the geometry of the forms and reports prospective relationship with things. The abstract and metaphysical of Piero della Francesca show that the outlook is not only necessary to those cultures which, tending to realism, entrust the task of reproducing the image of reality.
The artistic works of the painter of Sansepolcro Borgo show the tendency of man the fifteenth
to investigate and study the reality in which he lives, which leads him to define the laws of
perspective, to consider the images in their volume, their proportions.
In conclusion, we believe Piero della Francesca, as well as excellent painter, a mathematician of considerable validity, but the unique culture of mathematics was never in trouble artistic achievement since then use them as long as the was useful and was ready to leave when he was turn into a heavy presence.
The intent of Piero della Francesca, the greatest geometer of his time as Vasari says, is instead to compose, for the first time, following the example of Euclid's Elements, a treatise geometric size of an entire series of propositions, each with its own demonstration, logically linked together to form the true perspective as scientia. Piero is no doubt, more than any other the extraordinary blend of art and mathematics that if Leonardo spreads like a new thought on every piece of science, technology and art , Piero becomes aware in the subject of study, theoretical foundation of his story culture. Its three mathematical works, the Trattato d'abaco, De corporibus regolaribus and De prospectiva pingendi demonstrate a strong and original work on various aspects of mathematics Renaissance. The care in dealing with very complicated algebraic calculations, the centrality of theory of proportions, the taste for shapes and their multifaceted compose and decompose other forms, all filtered through the creative genius of the great painter contribute, we believe, to give to Western science, from which he takes up, the taste for beauty, for harmony that still persists in some scientists.
However, the attempt to Piero is still not c ompleta released from the medieval culture, with real errors in reasoning, with a often questionable logic, without a clear methodological framework of deductive characteristic of Hellenistic science and scientific thought in general.