Francesco Cattani da Diacceto

The beginning of Cattani's preface to his work Tre libri d'amore in the Venice edition of 1561. The author explains his unusual decision to deal with a philosophical topic in Italian.

Francesco Cattani da Diacceto (called il Pagonazzo or il Vecchio , Latinized Franciscus Cataneus Diacetius , also Diacetus ; born November 16, 1466 in Florence , † April 10, 1522 ibid) was an Italian humanist and philosopher . As a student of Marsilio Ficino , he was a Platonist and represented a doctrine that was strongly influenced by Neoplatonism , which he defended against objections from the Aristotelians . His main interests were metaphysics , aesthetics and the theory of love. He taught at the university in his hometown of Florence and was considered by contemporaries to be Ficino's intellectual heir.

In the modern age, Cattani received relatively little attention from historians of philosophy because he was considered to be an unoriginal mediator of Ficino's teaching. In contrast, recent research has looked at his system as a whole and the independent aspects of his thinking.

Life

Cattani came from a wealthy Florentine patrician family whose original home was the village of Diacceto east of Florence. He was born in Florence on November 16, 1466, the son of Zanobi Cattani. To distinguish it from a distant relative of the same name, contemporaries later gave him the nickname il Pagonazzo ("the violet") after his clothing ; it was not until long after his death that he was called il Vecchio ("the elder") to distinguish him from a grandson of the same name. His father died early. All that is known about Cattani's childhood and early adolescence is that he received a solid humanistic education. Apparently he acquired a basic knowledge of ancient Greek . At the age of eighteen he married Lucrezia Capponi, with whom he had seven sons and six daughters. She died in 1518.

Cattani belonged to the Medici family , who held a leading position in the Republic of Florence in his youth . His grandfather Paolo had already been a supporter of the Medici. Cattani went to Pisa to study ; his philosophy teacher there was the Aristotelian Oliviero Arduini. Among his fellow students was the young Cardinal Giovanni de 'Medici, who later became Pope Leo X , with whom he kept in close contact. From Pisa in 1492 he wrote in correspondence with the Florentine humanist and philosopher Marsilio Ficino, who had made a name for himself as a translator and commentator of Plato's dialogues and was eager to spread the Platonic ideas. In the following year Cattani became a student of the distinguished Platonist. After completing his studies, he returned to his hometown. There he stayed with his teacher until he died in 1499. Ficino valued him as a friend and colleague and saw in him his future successor as the central figure in a philosophical circle.

In Florence, Cattani took part in political life. He was one of the Medici partisans, whose dominant role in the republic was very controversial. He is attested several times as a state official. In 1510 he was a member of the eight-member security committee (otto di guardia) ; At the beginning of 1520 he obtained the temporary office of gonfaloniere di giustizia ("standard bearer of justice"), who as chairman of the Signoria , the most important government organ , enjoyed the highest respect among all officials. In addition, in November 1512 he was commissioned to represent the republic as an envoy to Emperor Maximilian I , but this trip did not take place. Cattani traveled to Rome in 1513 and 1518; there Pope Leo X gave him a benevolent welcome.

In 1501 Cattani received the offer to teach Aristotelian philosophy at the Florentine University, the Studio fiorentino , although he had not obtained a doctorate in Pisa. He initially declined, but accepted the proposal the following year after the university doubled its compensation offer to 200 florins a year. Later, his relatively high annual salary was 525 florins. The subject matter of his courses included the theory of nature, psychology and ethics. He was probably also teaching Platonic philosophy in his apartment. In Florentine humanist circles he enjoyed high esteem; he took part in the discussions in the scholarly circle of the Orti Oricellari and belonged to the Sacra Accademia Medicea . The poet and linguist Gian Giorgio Trissino was one of his friends .

Cattani had numerous students, including Luigi Alamanni , Antonio Brucioli, Zanobi Buondelmonti, Iacopo da Diacceto, Donato Giannotti , Luca della Robbia, Giovanni Rucellai , Filippo Strozzi and Piero Vettori .

Works

Cattani wrote in Latin, but he also wrote Italian versions of two works that deal with love. During his lifetime, his works were only distributed in copies; only after his death was most of it printed in the period 1526–1563. Some were only released in 1986.

• De pulchro (On the beautiful) , Cattani's first writing, consists of three books. The first version was created in the period 1496–1499, the final version was not completed until October 7, 1514. Despite the title, De pulchro not only deals with aesthetics, but is a comprehensive exposition of the author's metaphysics and cosmology.

• Panegyricus in amorem ( eulogy of love , before 1508); the Italian version Panegirico allo amore was written by Cattani around the same time. The Panegirico was published in Rome in 1526 by the printer Ludovico degli Arrighi. Cattani's enthusiastic presentation is based on Plato's dialogues Phaedrus and Symposium as well as on Ficino's writing De amore (About love) .

• De amore ( About love , 1508); Cattani completed the Italian version Tre libri d'amore before August 8, 1511. The printer Gabriele Giolito de 'Ferrari published the Italian version in Venice in 1561. The work belongs to the treatise literature on love valued during the Renaissance , but in contrast to other treatises it places the philosophical aspect of the subject in the foreground over the literary one. Love is represented in the sense of the Platonic understanding , but in the Italian version intended for a wider public, Platonic expressions are replaced by Christian ones. Cattani thought it necessary to justify his decision to write about a “divine” topic like love in the Italian vernacular instead of just Latin, because he said that many would resent him. In addition, he remarked that there is a language within the soul, which is natural and the same for all people, and external languages ​​that people have invented at random. The external languages ​​are images of the internal language and are all equally suitable as means of expression for philosophical content.

• An unfinished commentary on Plato's Dialog Symposium , which breaks off after the first two speeches of the dialogue.

• Latin paraphrases of Plato's dialogue Statesman and Plato attributed dialogues Anterastai and Theages and the signature over the sky of Aristotle and of the first book of its Meteorologica .

• The funeral oration for Lorenzo di Piero de 'Medici , Duke of Urbino who died in 1519 , which Cattani wrote at the request of Cardinal Giulio de' Medici, who later became Pope Clement VII .

• Some letters, including a letter addressed to the French prelate Germain de Ganay before 1509 , which in the manuscripts bears the title Apologia contra Parisienses philosophos pro Platone (Defense of Plato against the Parisian philosophers) .

• Two university speeches in praise of philosophy as well as introductory speeches for lectures on the Nicomachean ethics of Aristotle and on the second book of his work De anima .

• Two seals: a canzone and an epigram in Antonio Squarcialupi .

• Two other works have not been preserved: A Plotinus Commentary and a Paraphrase of Aristotle's Physics .

Teaching

Relationship to the philosophical traditions

In his philosophical writings, Cattani expressed himself as a Platonist and student of Ficino and, like his teacher, was particularly concerned with metaphysical questions. Like Ficino, he understood Plato's teaching in terms of Plotin's Neoplatonic interpretation. In doing so, he often orientated himself directly to Plotinus, ignoring Ficino's understanding of Plotinus, and sometimes distanced himself from the position of his teacher. He was critical of the approach of the contemporary philosopher Giovanni Pico della Mirandola , who preferred an Aristotelian interpretation of Plato over Plotin's point of view. More than Ficino, Cattani, following the Pythagorean tradition, took the philosophy of mathematics into account . However, he showed little interest in scholastic literature and in purely theological questions. However, he often quoted the Bible and Pseudo-Dionysius Areopagita . He did not try to bring the Platonic and the Christian worldview into complete agreement, rather he admitted the differences.

As a university lecturer, Cattani had to deal with contemporary Aristotelianism , which played an important role in university discourse. Although he valued Aristotle and his ancient pupils, the Peripatetics , he thought little of the post-ancient Aristotelians. He preferred to present the views of Plato and Aristotle in the sense of a consensus between the two thinkers on the basis of Platonic doctrine, whereby he also tried to harmonize with Neoplatonism. In the questions in which Aristotle openly opposed his teacher Plato, he took his side.

Metaphysics and cosmology

In metaphysics, Cattani adopts the basic structure of the ancient Neoplatonic world model. Like the ancient Neo-Platonists and Ficino, he considers the cosmos to be hierarchically organized. The tiered order ranges from the one , the highest principle, which Cattani equates with the good , down to matter . Following the Neoplatonic tradition - and in contrast to Pico della Mirandola - he does not understand the one as being , but as the origin of being and thus superordinate to being. Life and intellect do not belong to the one either, but are assigned to the level of being. The one and good, which corresponds to the Christian God, cannot therefore be described as being and living. The being that has emerged from the One unfolds in the purely spiritual, non-sensually perceptible world of Platonic ideas . The first beauty appears in the world of ideas . Cattani defends Plato's doctrine of ideas against the criticism of Aristotle, whereby he deals with the " argument of the third man ". He regards the world soul as the mediating authority between the spiritual and the physical world, which gives life to the cosmos and guarantees its continuity. This happens by means of a second universal soul that has emerged from the world soul, nature, which connects with the cosmos, while the world soul remains entirely to itself. Cattani advocates the Platonic doctrine, according to which the self-moving soul is the principle of all movement, and addresses the objections of Aristotle. Cattani sees the passage of time not as linear but as cyclical; he justifies the concept of successive world cycles with the fact that the number of ideas and the possibilities of participating in them is finite.

According to Cattanis, the three opposing pairs of unity / multiplicity, movement / rest and identity / diversity are fundamental to the existence and structure of the world. Only through the interaction of these opposites can the world exist as an ordered cosmos. The multiplicity would dissolve into the limitless and indefinite, if the number did not bring about limitation and determination and thus unity within the multiplicity. Movement is ordered through rest, the effect of the principle of difference limited by that of the principle of identity. This interplay of opposites is the prerequisite for the world order and its recognizability.

In the human soul, Cattani differentiates between the rational soul and the irrational soul. According to his teaching, the rational soul produces the irrational soul; she pours them out and uses them like an instrument to invigorate the body, while she herself has no direct contact with it. In addition, the soul needs a “ soul vehicle ” for its activity in the material world . Like Ficino, Cattani adopts this concept from ancient Platonism.

As regards the relationship of Platonic ideas to the human souls Cattani is the belief that each individual soul corresponds to its own idea and thus every soul a sort (species) is with just one individual.

Aesthetics and Theory of Love

For Cattani, being, which shows itself in the multiplicity of appearances, has its absolute ground in the one and the good. Being is the one and good unfolded in plurality; it makes unity and goodness visible and tangible in the world of sense objects. In so far as it is, it is a beautiful being. Beauty is the outward breaking out of the inner goodness of a good person. The good forms the unity aspect of being and the beautiful forms the multiplicity aspect. Beauty presupposes multiplicity; therefore God as the absolutely one is not beautiful, but beyond beauty.

According to Cattani's philosophy, all things have proceeded from God, the One, through a gradual emergence and return to him through an inverse process. Accordingly, man's destiny is also to return to his divine origin. Love is the driving force. According to Cattani's definition, human love is the striving to enjoy and produce the beautiful in the beautiful. This gives rise to its importance for the lover's path to God, because the beautiful is - according to Cattani - the only perceptible manifestation of the divine on earth. It represents the one and the good as its development in the multiplicity of appearances. By aiming at the beautiful, love connects the human being with the divine insofar as this appears beautiful and is recognized as beautiful. The more knowledge one attains about the beautiful, the more part one has in the divine. The striving for love is always preceded by a knowledge of what is striven for, because the prerequisite for every love is a knowledge of its object.

For the ascent of the soul to the one and good, the source of beauty, there are, according to Cattanis, three main ways: the dialectic , the music and the erotic. The dialectic, which works as a rational endeavor for knowledge with definitions, methods and proofs, moves towards the good in direct spiritual access. The other two paths, on the other hand, which are taken without the discourse of reason, are related to the beauty that appears. A union with the divinity cannot be brought about by reason, but only by love awakened by the beautiful.

For Cattani, love is a force that leads back from chaos into order and from the imperfect into the absolute and perfect, thereby eliminating the unsightly in the human mind. It creates the divine "furor" in people, a passion that drives them to the achievements that define their dignity and makes them god-like. Then it becomes evident that man is a dwelling place of the gods. For Cattani, the furor of love is the greatest gift of God to the human soul, because it leads it out of its own narrowness into the vastness of divine truth. Thus love falls to the task of directing the soul. This happens in the right way when the desire and will of the lover who seeks beauty is aligned with the intelligible world , with the realm of the only spiritually comprehensible Platonic ideas, because beauty is at home there. Cattani also understands beauty in this spiritual sense to include qualities such as education and excellent morals.

For Cattani, a problem with the love of beauty arises from the fact that, according to his understanding, beauty itself is not sensual, but appears in the sensual. When a person is perceived as beautiful, the sight of him evokes love, but this does not lead directly to the spiritual and divine, but to a concrete, also body-related love relationship between people. Like Ficino, Cattani attaches great importance to the distinction between “heavenly” love, which leads up to the divine, and “earthly” love, which desires the human body. He considers the latter problematic insofar as the earthly lover's desire can get stuck in the material. Moreover, this love arises from a kind of drunkenness, and such passion can lead to "lovesickness". This is a consequence of constantly thinking about the loved one. Nevertheless, Cattani defends earthly love. He asserts that there is a connection between outer, visible and inner, spiritual beauty. The inwardly beautiful - the beautiful in the real sense - is accompanied by a certain external grace, which is a sign of inner flawlessness. Thus, although outer beauty is not the true goal of love, it can be an instrument that helps the lover to ascend to the goal of divine beauty. Even those who love earthly are, as a lover, a miracle among other people and therefore deserve the highest esteem. From this a responsibility arises for the beloved; he must not reject the love shown for him, otherwise he would behave like a murderer.

Although Cattani regards earthly love as only one step in the ascension process, he emphasizes the permanent recognition that it deserves. When - according to Cattani - the lover and knower has advanced from sensory perception to spiritual truths and has thus achieved wisdom and bliss , he no longer needs the sensual love object. This becomes superfluous for him, but it still deserves the highest appreciation, because the ascent to the spiritual has become possible through the effect of the sensual.

An essential aspect for Cattani is self-knowledge, which he depicts as the fruit of love. He deals intensively with the meaning and feasibility of self-knowledge. In doing so, he takes up the ancient Platonic concern of turning to one's own soul; this should be recognized and maintained. Love for another person can contribute to this, because through the spiritual devotion to a noble friend one can look into his excellent soul and then recognize what is found there in oneself.

reception

Early modern age

Cattani saw himself as the authentic successor to Ficino in the role of leading Platonist, and this view was shared by educated contemporaries. In Florence and abroad, people valued his ability during his lifetime to interpret Plato in an understandable way and to illuminate the obscurities of the metaphysical models of the ancient Neo-Platonists. Baldassare Castiglione praised his linguistic expressiveness in Italian and compared it as a stylistic model with Petrarch and Boccaccio .

Four decades after Cattani's death, his grandson of the same name, who later became Bishop of Fiesole Francesco Cattani da Diacceto the Younger, had a very flawed edition of the Tre libri d'amore and the Panegirico allo amore printed in Venice in 1561 , which ended up being one Contains biography of the humanist written in Italian by the historian Benedetto Varchi . Varchi's presentation is detailed and believed to be reliable; he relies on information from people who knew Cattani well. A Latin biography comes from the scholar Frosino Lapini; it preceded the edition of Cattani's Latin works, which was published in Basel in 1563 by Theodor Zwinger and printed by Heinrich Petri and Pietro Perna .

Modern

Until the late 20th century, Cattani received relatively little attention. A common opinion was that he lacked originality, that he had only adopted Ficino's teaching. Paul Oskar Kristeller did pioneering work with a study first published in 1946. According to Kristeller's findings, Cattani is far inferior to Ficino, but he carried on his legacy and made a contribution to the philosophy of the Renaissance through his engagement with Aristotelianism. There is consensus that Cattani was Ficino's most important student.

More recent research sees in Cattani on the one hand a loyal student of Ficino, but on the other hand also a thinker looking for new solutions. Sabrina Ebbersmeyer (2002) characterizes him as a “threshold figure” with one foot in the past shaped by Ficino, but with the other foot in the present of the early 16th century, which required new forms of intellectual debate. His texts about love looked like "the late echo of a bygone era", but with his efforts in the Sacra Accademia Medicea he has taken on pioneering cultural-organizational tasks. Thomas Leinkauf (2017) points to Cattani's differentiated interpretation of Plato and his sovereign knowledge of the literature of ancient Platonism, and offers an overview of the system of the humanistic thinker. The first comprehensive monograph on Cattani's philosophy was also published in 2017. Its author, Simone Fellina, examines the metaphysics, cosmology, anthropology and love theory of the Florentine Platonist and their relationship to the teachings of Ficino, Pico and the ancient Neoplatonists with whom he grappled. Fellina works out the traditional and independent elements of Cattani's philosophy in detail.

Editions and translations

• Opera omnia Francisci Catanei Diacetii […] nunc primum in lucem edita. Basel 1563 ( digitized version )
• Christoph Luitpold Frommel (translator): Francesco Cattani da Diacceto: eulogy of love. In: Frommel: Michelangelo and Tommaso dei Cavalieri (= Castrum Peregrini 139/140). Castrum Peregrini Presse, Amsterdam 1979, ISBN 90-6034-039-6 , pp. 98-111
• Sylvain Matton (Ed.): Francisci Catanei Diacetii De pulchro libri III. Accedunt opuscula inedita et dispersa necnon testimonia quaedam ad eumdem pertinentia (= Nuova collezione di testi umanistici inediti o rari , vol. 18). Scuola Normale Superiore di Pisa, Pisa 1986, ISBN 88-7642-007-X (critical edition of De pulchro and the university speeches , poems and letters as well as numerous source texts on Cattani)
• Luc Deitz (translator): Francesco Cattani da Diacceto: Panegyric on Love. In: Jill Kraye (Ed.): Cambridge Translations of Renaissance Philosophical Texts. Volume 1: Moral Philosophy. Cambridge University Press, Cambridge 1997, ISBN 0-521-42604-9 , pp. 156-165

literature

• Simone Fellina: Alla scuola di Marsilio Ficino. Il pensiero filosofico di Francesco Cattani da Diacceto. Edizioni della Scuola Normale Superiore, Pisa 2017, ISBN 978-88-7642-586-8
• Paul Oskar Kristeller :  Cattani da Diacceto, Francesco. In: Alberto M. Ghisalberti (Ed.): Dizionario Biografico degli Italiani (DBI). Volume 22:  Castelvetro – Cavallotti. Istituto della Enciclopedia Italiana, Rome 1979, pp. 507-509.
• Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters (= Storia e Letteratura , Vol. 54). Edizioni di Storia e Letteratura, Rome 1969, pp. 287–336 (first published in 1946)
• Thomas Leinkauf : Outline of the philosophy of humanism and the Renaissance (1350–1600). Volume 2, Meiner, Hamburg 2017, ISBN 978-3-7873-2792-8 , pp. 1262-1266, 1327 f.

Remarks

1. ^ Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 296.
2. ↑ Cesare Vasoli: Ficino, Savonarola, Machiavelli , Torino 2006, p. 268; Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, p. 15 f. and note 1.
3. ^ Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 296–298; Sabrina Ebbersmeyer: Sinnlichkeit und Vernunft , Munich 2002, p. 136; Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, p. 16 f.
4. ^ Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 303; Eva Del Soldato: The Elitist Vernacular of Francesco Cattani da Diacceto and Its Afterlife. In: I Tatti Studies in the Italian Renaissance 16, 2013, pp. 343–362, here: 358.
5. ^ Peter Godman: From Poliziano to Machiavelli , Princeton 1998, p. 206, note 134; Eva Del Soldato: The Elitist Vernacular of Francesco Cattani da Diacceto and Its Afterlife. In: I Tatti Studies in the Italian Renaissance 16, 2013, pp. 343–362, here: 360; Armando F. Verde: Lo Studio Fiorentino 1473–1503. Ricerche e Documenti , Vol. 2, Firenze 1973, pp. 218 f.
6. ↑ Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, p. 21 f .; Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 298–303; Paul Oskar Kristeller: Cattani da Diacceto, Francesco. In: Dizionario Biografico degli Italiani , Vol. 22, Rome 1979, pp. 507-509, here: 507 f.
7. ^ Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 322 f.
8. ↑ See Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 304.
9. ↑ See the overview with Paul Oskar Kristeller: Cattani da Diacceto, Francesco. In: Dizionario Biografico degli Italiani , Vol. 22, Rome 1979, pp. 507-509, here: 508 f. and the more detailed account by Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 304–318 and Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, pp. 23–26.
10. ^ Eva Del Soldato: The Elitist Vernacular of Francesco Cattani da Diacceto and Its Afterlife. In: I Tatti Studies in the Italian Renaissance 16, 2013, pp. 343–362, here: 349 f., 353, 357.
11. ↑ Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, p. 23.
12. ↑ See Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, pp. 17-21.
13. ↑ Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, pp. 28–31; Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 314 f., 318–320; Paul Oskar Kristeller: Cattani da Diacceto, Francesco. In: Dizionario Biografico degli Italiani , Vol. 22, Rome 1979, pp. 507-509, here: 509.
14. ↑ Cesare Vasoli: Ficino, Savonarola, Machiavelli , Torino 2006, p. 270 f .; Eva Del Soldato: The Elitist Vernacular of Francesco Cattani da Diacceto and Its Afterlife. In: I Tatti Studies in the Italian Renaissance 16, 2013, pp. 343–362, here: 344 f .; Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 314, 319 f .; Paul Oskar Kristeller: Cattani da Diacceto, Francesco. In: Dizionario Biografico degli Italiani , Vol. 22, Rome 1979, pp. 507-509, here: 509.
15. ↑ Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, pp. 33 f., 38–41, 116, 155 f .; Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 305–309.
16. ↑ Eckhard Keßler: The Philosophy of the Renaissance , Munich 2008, p. 126.
17. ↑ Christopher S. Celenza: Francesco Cattani da Diacceto's De pulchro, II.4, and the Practice of Renaissance Platonism. In: Accademia 9, 2007, pp. 87-98, here: 92-96; Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, pp. 202, 282-304.
18. ↑ Simone Fellina: Alla scuola di Marsilio Ficino , Pisa 2017, pp. 178-181.
19. ↑ Thomas Leinkauf: The Neoplatonic concept of the 'beautiful' in the context of art and poetry theory of the Renaissance. In: Verena O. Lobsien, Claudia Olk (eds.): Neuplatonismus und Ästhetik , Berlin 2007, pp. 85–115, here: 101 f .; Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 311.
20. ↑ Thomas Leinkauf: The Neoplatonic concept of the 'beautiful' in the context of art and poetry theory of the Renaissance. In: Verena O. Lobsien, Claudia Olk (eds.): Neuplatonismus und Ästhetik , Berlin 2007, pp. 85–115, here: 101; Thomas Leinkauf: Outline Philosophy of Humanism and the Renaissance (1350–1600) , Vol. 2, Hamburg 2017, pp. 1263–1265, 1327 f .; Eckhard Keßler: The Philosophy of the Renaissance , Munich 2008, p. 127; Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 308–310.
21. ↑ Thomas Leinkauf: The Neoplatonic concept of the 'beautiful' in the context of art and poetry theory of the Renaissance. In: Verena O. Lobsien, Claudia Olk (eds.): Neo-Platonism and Aesthetics , Berlin 2007, pp. 85–115, here: 103; Thomas Leinkauf: Outline Philosophy of Humanism and the Renaissance (1350–1600) , Vol. 2, Hamburg 2017, p. 1265; Eckhard Keßler: The Philosophy of the Renaissance , Munich 2008, p. 127.
22. ↑ Thomas Leinkauf: The Neoplatonic concept of the 'beautiful' in the context of art and poetry theory of the Renaissance. In: Verena O. Lobsien, Claudia Olk (eds.): Neuplatonismus und Ästhetik , Berlin 2007, pp. 85–115, here: 102–104; Thomas Leinkauf: Grundriss Philosophy of Humanism and the Renaissance (1350–1600) , Vol. 1, Hamburg 2017, p. 490 and Vol. 2, Hamburg 2017, p. 1266; Sabrina Ebbersmeyer: Sinnlichkeit und Vernunft , Munich 2002, p. 141.
23. ^ Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 309 f .; Sabrina Ebbersmeyer: Sinnlichkeit und Vernunft , Munich 2002, pp. 139–141.
24. ↑ See Stéphane Toussaint: Francesco Cattani Da Diacceto commentateur du Banquet. Note néoplatonicienne. In: Laurence Boulègue (ed.): Commenter et philosopher à la Renaissance , Villeneuve d'Ascq 2014, pp. 163–170.
25. ↑ Sabrina Ebbersmeyer: sensibility and reason , Munich 2002, pp 142-144.
26. ^ Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 294 f., 320–322.
27. ^ Stéphane Toussaint: Francesco Cattani Da Diacceto commentateur du Banquet. Note néoplatonicienne. In: Laurence Boulègue (ed.): Commenter et philosopher à la Renaissance , Villeneuve d'Ascq 2014, pp. 163–170, here: 168.
28. ^ Baldassare Castiglione: Il libro del cortegiano 1,37 ( online ). See Eva Del Soldato: The Elitist Vernacular of Francesco Cattani da Diacceto and Its Afterlife. In: I Tatti Studies in the Italian Renaissance 16, 2013, pp. 343–362, here: 347 f.
29. ^ Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 295 f.
30. ^ Arnaldo della Torre: Storia dell'Accademia platonica di Firenze , Firenze 1902, p. 833 found that Cattani was only an able teacher. Cf. Nesca A. Robb: Neoplatonism of the Italian Renaissance , London 1935, p. 182 f .; John Charles Nelson: Renaissance Theory of Love , New York 1955, p. 110.
31. ^ Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336 (first published in 1946); for older research see p. 295 and note 29.
32. ^ Paul Oskar Kristeller: Francesco da Diacceto and Florentine Platonism in the Sixteenth Century. In: Kristeller: Studies in Renaissance Thought and Letters , Rome 1969, pp. 287–336, here: 320, 327.
33. ↑ See for example August Buck : The influence of Platonism on vernacular literature in the Florentiner Quattrocento , Krefeld 1965, p. 14; James Hankins: Humanism and Platonism in the Italian Renaissance , Vol. 2, Rome 2004, pp. 37 f.
34. ↑ Sabrina Ebbersmeyer: Sinnlichkeit und Vernunft , Munich 2002, p. 144 f.
35. ↑ Thomas Leinkauf: Outline Philosophy of Humanism and the Renaissance (1350–1600) , Vol. 2, Hamburg 2017, pp. 1262 f., 1266.
36. ↑ Simone Fellina: Alla Scuola di Marsilio Ficino. Il pensiero filosofico di Francesco Cattani da Diacceto , Pisa 2017.

This version was added to the list of articles worth reading on October 25, 2017 .