Ignazio Danti

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Ignazio Danti
Sicily on a map by Ignazio Danti

Ignazio Danti (born April 1536 in Perugia , † October 19, 1586 in Alatri ; also Egnatio or Egnazio Danti, born as Pellegrino Rainaldi Danti ) was an Italian mathematician , astronomer , cosmologist and cartographer .

Origin, childhood and education

Danti came from a wealthy family in Perugia. His father Giulio Danti (1500–1575) was an architect and a student of Antonio da Sangallo the Elder . At the age of sixteen, Egnazio was sent to Rome with his older brother Vincenzo to be introduced to goldsmithing in the workshop of Panfilo di Marchesi . The workshop was located on Via del Pellegrino, not far from Campo de 'Fiori. But Egnazio soon decided to enter the monastery of San Domenico in Perugia as a novice. On March 7, 1555, Danti was accepted into the Dominican order and took the name of the order Ignazio. Life in the convent offered him numerous advantages: he found a library that reflected the current knowledge of his time, and he devoted himself to the study of the liberal arts there.

The years in Florence

After completing his 'Studium generale' in Perugia, Danti came to the San Marco monastery in Florence in 1562, and later to the reformed monastery in Florence, Santa Maria Novella. In this monastery it was tolerated that the brothers pursued individual activities and remained in possession of their goods, which is why this convent was less highly regarded in the hierarchy of the Dominican monasteries than, for example, San Domenico in Perugia. Götze has suggested that Danti was called to Florence to equip the Order of the Knights of St. Stephen with astronomical equipment.

In Florence, Danti quickly won the favor of the aristocracy. Via his brother Vincenzo Danti , Pietro Vettori and finally Sforza Almeni , the advisor to Cosimo I, Egnazio came to the court of Cosimo I in 1562. There he taught mathematics to the offspring of the de 'Medici and Strozzi families and introduced them to them the cosmology of Ptolemy and the geometry of Euclid . On July 21, 1571 Cosimo I wrote the Minister General of the Dominicans that he wished to have the cosmographer close by occasionally. As the chief cosmographer (primario cosmografo) and teacher of the Grand Duke of Tuscany (maestro e cosmografo del Serenissimo Gran Duca di Toscana), Danti had the privilege of living in the immediate vicinity of the Grand Duke, in Palazzo Pitti, from July 1571. In the autumn of the same year, Danti also received a teaching position at the local academy (studio).

In September 1563, at the invitation of Cosimo I , Duke of Tuscany, he took part in a scientific project on cartography. Danti's brother Vincenzo Danti was a sculptor at Cosimo's court, so it is very possible that this helped him get the cartographic project. In the next few years he made over 30 cards. In 1574 he discovered the 11-day gap between the Julian calendar and the solar year. He then became a major advocate of Gregorian calendar reform .

The years in Bologna

After Cosimo's death, Danti had to leave Florence and became a professor in Bologna in 1575. Here he became known through the gnomon he built in the Basilica of San Petronio. From 1580 he worked for Pope Gregory XIII. as a cartographer. In recognition of this, he was appointed Bishop of Alatri in 1583 .

The years in Rome

From 1580 Danti worked for Pope Gregory XIII. in Rome.

Danti as a member of the commission for the implementation of the Gregorian calendar reform

The Gregorian calendar reform, which was finally implemented in 1582, was based on a design by Aloisius Lilius (around 1510–1576), who, however, died before his plans were implemented. His proposal, which was based on a one-time omission of 10 days and a new leap year order - the latter should be based on a 400-year cycle - was made by his brother and personal physician to the Pope, Antonius Lilius, in that of Gregory XIII appointed commission introduced. The commission supported Lilius' draft and, based on this, had Ciaconus, a member of the committee, work out a proposal intended for implementation, which at the end of 1577 under the title Compendium novae rationis restituendi kalendarium was sent to numerous princes, archbishops and universities throughout Europe “for the purpose of obtaining of expert reports ”, as Friedrich Karl Ginzel explained, was sent. Capone writes, based on Armellini, that Danti, who only functioned as a permanent member of the commission from 1580, was in fact forced to support the opinion of the council that had already been taken. He initially advocated other measures to solve the problem, for a definitive solution that would not require any future adjustments, as Capone reports. At the same time, Danti had to admit that the reform proposal had turned out to be simple and precise.

The fact that Danti played a role in the implementation of the calendar reform has already been pointed out many times and the memorial plaque in the cathedral of Alatri is the most prominent testimony to this, where explicit reference is made to his services to the implementation of the calendar reform. But the question of what his contribution consisted of was mostly ignored. Danti's most important contribution can be seen in a visualization of the astronomical problem. By demonstrating the error on the meridian line, the variance that the Julian calendar exhibited from the astronomically correct time in those years became visible and thus tangible. Because the great challenge on the way to the implementation of a calendar reform in the last third of the 16th century was to establish public acceptance for this imminent correction of the calendar.

Danti's work in the Sala dei palafrenieri in the Apostolic Palace

In the introduction to Le due regole, Danti mentions that the idea of ​​the changes to the Sala dei palafrenieri in the Apostolic Palace under Gregory XIII. comes from him. There Danti set the vanishing point of the pseudo architecture anew. This change, which he made together with the Alberti brothers, became necessary, as Weddigen suspected, after the space on the north side had been expanded. Due to the changed volume of the room, the vanishing points had to be set again on the walls. Under Danti's supervision, Zucchi had executed two of the larger-than-life figures when designing this room. These were the allegories Religio and Sobrieta. Vasari's student Jacopo Zucchi painted these figures between February 2 and July 1, 1583. As can be seen from the above-mentioned contract, Zucchi should have completed the work in the Church of Santo Spirito in Sassia before he carried out the assignment in the Apostolic Palace. But this was not so. The work in the Sala dei palafrenieri was carried out shortly before Danti's election as Bishop of Alatri on November 14, 1583. As a result, Zucchi did not carry out the contract within the originally agreed period. This chronology shows that the project was a priority in the Apostolic Palace.

Dantis Meridian in the Torre dei Venti

When asked where else Danti acted as a picture author, the Torre dei venti must not be forgotten. Danti himself reports about it in his Anemographia manuscript, which is in the Biblioteca Apostolica Vaticana . It can be read there that he first wanted to report his ideas and advice on decorating the tower, before going into the construction of the vertical version of the anemograph. This should better understand the importance of the elegant frescoes, which he ascribed to Niccolò Circignani (1517–1596).

Danti can also be seen as the originator of individual motifs in the Terza Loggia, especially the world maps in the northwest corner. This attribution cannot be questioned because Danti also reported on it in his letter to Abraham Ortelius.

The world map in the Terza Loggia was executed by Antonio Vanosino, while Almagià's attribution of the representation of the translation of the body of St. Gregory in the north wing of the Terza Loggia has yet to be verified.

The geografiche gallery

The most widely recognized artistic project with which the name Danti is associated is - alongside the Guardaroba nuova in the Palazzo Vecchio in Florence - the Galleria delle carte geografiche in the Vatican, which was created under Pope Gregory XIII. The walk through the approx. 120 meter long room corresponds to a flight over the Apennines. By visiting the Galleria delle carte geografiche, the viewer was to develop a Roman Catholic worldview based on the Donation of Constantine. This refers to the client's territorial hegemonic claim, which emerges from the chosen iconography.

This pictorial representation of the world corresponds to a construct. On the one hand, a deliberate distancing from the real landscape took place, so that an overview of the depicted areas was even possible; on the other hand, an attempt was made to achieve clarity by zooming in on characteristic landscape features. With this idea, tiny vedute were also integrated into the overall structure.

Danti's contribution to the design of Santo Spirito in Sasso

It has been known since the mid-1970s that Danti was involved in the design of the Roman church of Santo Spirito in Sasso, not far from San Pietro, which was partially destroyed during the Sacco di Roma in 1527 and was subsequently rebuilt and decorated. This emerges from a contract which is now in the Roman State Archives and to which Pillsbury has devoted himself in detail. The contract is dated June 24th, 1582. It regulates the way of painting the tribuna and the areas above the arches of the nave and the corresponding dates of execution. In this traditional contract, a charcoal drawing is mentioned (desegno facto di tavole et carbone), and Zucchi was instructed to inform Egnazio Danti of any changes to the design plan. Danti acted on this construction project under the direction of Teseo Aldrovandi, Ulisse Aldrovandi's brother. He was administrator of Santo Spirito in Sassia from 1575 to 1582. This was followed by Giovanni Battista Ruini, who is mentioned in the inscription above the altar next to the year of the completion of the choir (1583). In addition to Zucchi and his brother Francesco, who especially designed floral elements, i.e. H. Garlands etc., supported, Livio Agresti (1505/08 - approx. 1579/80), Cesare Nebbia (approx. 1536 - approx. 1614) and Giuseppe Valeriani (1542-1606) were involved in the implementation. The latter were entrusted with the painting of the side chapels. What should be emphasized about the above-mentioned agreement with Zucchi is that it provides information about the responsibilities. Egnazio Danti was the artistic director of the company, so it can be assumed that Danti, as the author, could also have been behind the composition scheme; it is likely that he put his ideas into practice in drawings. So far nothing is known about the whereabouts of these drawings.

The last few years in Alatri

Three years before his death he was in 1583 by Gregory XIII. appointed bishop of the diocese of Alatri (Latium). How Danti felt about it can be deduced from a manuscript which, according to Capone, is in the archives of the Benedictine monastery of Santissima Annunziata, the construction and expansion of which Danti had sponsored. This manuscript expresses the fact that, although he submitted to the papal will, he in no way welcomed this supposed promotion. His consecration as bishop finally took place on November 4, 1583. His predecessor, Pietro Franchi Giannuzzi, who had headed the bis-tum since 1574, had died shortly before. In Alatri, Danti looked for the remains of Pope Sixtus I, which he finally found in 1584 under the altar of the Episcopal Church. In the same year Egnazio Danti presided over the Synod of Alatri; This resulted in the Constitutioni fatte nella sinodo diocesana di Alatri, the diocese's legal work, which was printed in 1585 by Vincenzo Accolti in Rome. Danti died on October 19, 1586 in Alatri, shortly after his return from Rome, where he had attended the transfer of the obelisk of St. Peter.

Danti as editor of (ancient) writings

In his short life, Danti has translated, commented and edited a number of ancient writings. The publication that received the greatest historical and geographical attention is Danti's commentary on the Vignola manuscript. It was published ten years after Vignola's death in 1583 under the title "Le due regole della prospettiva". This comment was reprinted numerous times. In addition to this important work, Danti was editor of "La sfera del Giovanni Sacrobosco", a work that his grandfather Piervincenzo Danti had translated but was unable to publish during his lifetime. Egnazio Danti has also published "La sfera di Proclo Liceo", La prospettiua di Euclide and the "Trattato del radio latino". The Dominican wrote "La sfera del mondo ridotta in cinque tavole" and "Le scienze matematiche". The following publications came from his pen: "Trattato dell'uso et della fabbrica dell'astrolabio", "La sfera del mondo ridotta in cinque tavole", "Anemographia", "Trattato dell'uso e fabbrica dell'astrolabio", "Usus et tractatio gnomonis magni "," Trattato del radio latino "(Danti 1583; Danti 1586). The text works mentioned have hardly been taken into account by the recent history of art and science and are therefore, with two exceptions, only available in the original and therefore without comment. "Le due regole" is an exception. This work was translated into French by Pascal Dubourg Glatigny in 2003, commented on and reissued, including a facsimile print. The second exception is the Latin text "Anemographia", which was transcribed by Amanda Collins and translated into English.

Dantis correspondence

A bundle of Danti's letters has been transcribed and edited since 2011. It is not mentioned but z. B. a letter from Fra Alphonsus Indiano Domenicano to Egnazio Danti dated August 1, 1581 (cf. Marcel Henry 2012, transcription on p. 194), in which the latter - probably from the Dominican monastery Madonna della Quercia near Viterbo - addressed himself to Danti for services rendered thanks. Danti's efforts in the area of ​​fortress construction have hardly been processed yet. In 1888 Baccini published a previously unpublished manuscript under the title "Sopra le fortezze e lor situazioni", which is kept in the Biblioteca Riccardiana in Florence. It provides information about Danti's ideas on the architectural design of military infrastructures.

Individual evidence

  1. ↑ See letter from Giulio Danti from Perugia to Panfilo Marchesi in Rome on August 5, 1557, transcribed in Antonio Bertolotti, Artisti bolognesi, ferraresi ed alcuni altri del già Stato Pontificio in Roma nei secoli XV, XVI e XVII: studi e ricerche tratte dagli archivi romani , Bologna: Forni, 1962, Vol. I., pp. 309-311.
  2. ^ In the Archivio di Stato di Roma there is an exchange of letters from August 1557 between Giulio Danti and his professional colleague Panfilio di Marchese. From this it can be seen that Panfilio di Marchese's workshop was in Via Pellegrino. See Archivio di Stato di Roma, Misc. Arti, B. 1, Fascicolo 26, 1557 agosto 5.
  3. ↑ On the reform movements within the various orders during the period of confessionalization, see Isnardo Pio Grossi, "Breve e util modo del viver christiano di fra Benedetto Onesti. Un trattatelo di vita spirituale scritto in S. Maria Novella nel 1568 “ , in: Memorie Domenicane , 1983, pp. 505-574, and Leonard Holtz, History of Christian Order Life , Darmstadt: Wissenschaftliche Buchgesellschaft, 2001.
  4. ↑ See Oliver Götze, The Public Cosmos: Art and Scientific Ambience in Italian Cities of the Middle Ages and the Renaissance , Munich: Herbert Utz Verlag, 2010, p. 313. In footnote 1419 he provides illuminating references to Arcangelo di Borgonuovo. On Danti's call to Florence, cf. also D'Alatri 1980, p. 611.
  5. ↑ Cf. Egnatio Danti, Le due regole della prospettiva pratica di m. Iacomo Barozzi da Vignola [first edition: Rom, Zannetti, 1583], ed. u. trans. by Pascal Dubourg Glatigny, Paris: CNRS Editions, 2003, p. 30 and p. 75. On the subject of cosmography at the court of Cosimo I. see also Poggi 2009: Cristina Poggi, "Cosmografia a corte: le carte geografiche della Guardaroba", in: Palazzo Vecchio e dintorni , ed. by Ferruccio Canali u. Virgilio Carmine Galati, Florence: Alinea Editrice, 2009.
  6. ↑ Cf. Alessi 1642, p. 139. Danti's lectures were recorded by Gherardo Spini and published as early as 1570 under the title Annotazioni intorno al trattato dell 'Astrolabio et del planisfero universale del RP Ignatio Danti by Sermartelli in Florence. On the educational system of the Renaissance, see Niccoli 2005, pp. 9–11.
  7. ↑ Cf. Archivio di Stato di Firenze, Mediceo del Principato, Fol. 2r: "Frate Egnatio Danti perugino mi ha servito et mi serve del continuo d'opere di cosmographia dove che per tali servitii mi bisognerebbe alcune volta haverlo apresso." after Dubourg Glatigny 2011, p. 88. This letter can also be found in Palmesi and Lorenzoni. See Palmesi 1899, p. 10, and Lorenzoni 1912, p. 182.
  8. ↑ Danti's functions can be reconstructed using the title given on the frontispiece of his publications.
  9. ↑ Cf. Archivio di Stato di Firenze, Miscellanea Medicea, 704, fol. 27v. Quoted from Dubourg Glatigny 2011, p. 89. In Danti / Sacrobosco 1571, Proemio, 1st page, he himself reports on his teaching activities in Florence: “[…] mediante l'occasione che mi s'è porta di douer leggere le Matematiche publicamente qui in Firenze per ordine del Gran DVCA DI TOSCANA [...]. "
  10. ↑ Ralf Kern. Scientific instruments in their time . Volume 1: From astrolabe to mathematical cutlery . Cologne, 2010. p. 318.
  11. ↑ Cf. Danti / Vignola 1583, pp. 86–87: “[…] si come ho fatto nel dipignere per comandamento [page 87] dame [n] to di sua Santità le facciate delle due sale degli Suizzeri, & delle santissimi Apostoli , doue i Palafrenieri fanno la guardia, no [n] ostante che il passo sia come s'è detto, in vn lato. ”For Danti and the Sala degli Svizzeri, see Weddigen 2006, pp. 175–182.
  12. ↑ See Weddigen 2006, p. 178.
  13. ↑ This attribution goes back to the exhibition catalog Il Cavaliere d'Arpino. See Röttgen 1973, p. 21. See also Pillsbury 1974, p. 441.
  14. ↑ See Pillsbury 1974, p. 441.
  15. ↑ See Pillsbury 1974, p. 441.
  16. ↑ Cf. BAV, Vat. Lat. 5647, fol. 15r [Manuscript ANEMOGRAPHIA]. See also Danti 1578a.
  17. ↑ Cf. BAV, Vat. Lat. 5647, Fol. 15r [Manuscript ANEMOGRAPHIA]: “Sed antequam verticalem con [s] tructionem ag-grediar, non ab re fore iudicavi, animum et consilium meum patefacere, ut ex picturis illis elegantissimis Nicolai Circi-gnani, quibus turricula exorn ventorum and , verus sensus colligi posit. "Quoted from Courtright 2003, p. 227. The translation of this passage by Amanda Collins is as follows:" However before I move on the construction of the verti-cal version I have decided it would not be inappropriate here to reveal my ideas and advice for the entire decoration of the Tower of the Winds, so one - may comprehend the true meanings of those most elegant frescoes of Nicolò Circi-gnano. "Quoted from Courtright 2003, pp. 239-240. For the Torre dei Venti see below. a. Stein 1939, Stein 1950 and Casano-vas / Mancinelli 1980.
  18. ↑ transcription cf. Hessels 1887, pp. 240–242. The original document is now at the University of Texas, Harry Ransom Center, Pre-1700, No. 55, Fol. 245r. – 246v. Molto Mag [nifi] co et ecc [ellen] te sig [n] ore. Il molto ualore di V [ostra]. Sig [nori] a et il comodo, che ho cauato delle honoratissime fati-che sue mele fa essere grandemente obligato, et portarli grandis [sim] a afettione, et per mo-strargliene qualche picciolo segno, ho presa sicurta di scriuerli questi due uersi et insieme mandarli la descrittione che ho fatta della patria mia, leua [n] done la pianta co [n] lo stru-mento diligenteme [n] te sicome ho fatto, delle maggiore parte dello stato della chiesa per coma [n] dame [ n] to del Papa, che mi ha poi condotto in Roma a fare una descrittione d'Italia in una Galleria che S. Santita ha fatta, oue hauendo diuisa l'Italia p [er] il mezzo nel mo [n] te Apennino o posta da una banda della Galleria quella parte che è bagnata dal mare Ligustico, et Tirreno, et dall'altra, quella che é cinta dall'Adreatico, e dall'Alpi, diuidendola poi seco [n] do gli stati, et le prefetture de gouernj in quara [n] ta parti, seco [n] do che la Gal-leria é divisa in 40 quadrj di tanta grandezza che sono andati · 64 fogli di carta real p [er] quadro nel far e i cartonj. Hora uo riducendo ogni cosa in un libro, oue le parti d'Italia sa-ra [n] no fino a 48 · et ui saranno apresso da 80 storie di figure, che sono dipinte nella uolta della Galleria sop [ra] ciascuno quadro rapprese [n] tando qualche segnalato miracolo occor-so in quella prouincia. Ne ho uoluto dare auiso à [V.] signoria, accio se lej hauesse uolunta a farmj intagliare questo [Page 242] libro che melo faccia sapere, che io opererej co [n] il papa che ci porgesse qualche aiuto, sara apresso ciascuna tauola qualche particulare, et noua annotazione co [n] le inscrittioni che in essa Galleria io ho fatte, et sono state tutte riuiste, et racco [n] cie dal .S. Moreto, dal S. Bargeo, et dal Frizzolio. Mentre stetti 13 annj al seruitio del G. Duca Cosimo, hebbi da .S. Altezza due librj uno del uiaggio che si fa da Li-sbona alle Molucche scritto da un piloto portuese che 14 uolte hauea fatto quel uiaggio, et ui mostra a luoco per luoco l'altura del polo, et la qualita de siti, et le distanzie itinerarie, co [n] il fondo del mare, et altrj auertimenti appartenenenti alla nauigatione fatto co [n] tan-ta diligenza, che se quella nauigatione un giorno si perdessse, basteria questo libro, a ritor-narla in luce, l ' altro libro fa il medesimo, efetto dell'Indie occidentalj. Il primo l'hebbe il .GD Cosimo dal Cardinale infante di Portogal [lo] et il seco [n] do dal Re Filippo, et io fecj co [n] essi a sua Altezza un gra [n] mappamo [n] do di quattro braccia di diametro, et al pre-sente ne ho fatto uno in piano grande per due uolte quello di .V. sig [noria] et harej animo di farlo stampare co [n] li due librj apresso, per utile delli amatorj di questa nobile profes-sione. Fra tanto la suplico che si degni inuiarmj qua uno de suo Mappamo [n] di colorit [o] co [n] l'Asia, et l'Africa, et anco il mondo nouo se l'ha fatto come ho inteso, perche qua no [n] ho trouati da co [n] prare, et altrj che ne haueo mi sono andati male nel portarli da Bolog [na] a Roma, li potra V. S [ignori] a ma [n] dare alli suoj co [ n] rispondenti, alli quali pa-ghero tutto quello, che mi dira [n] no, resta ancora che le dicha, che ho messo insieme fra citta, et altre terre grand d'Italia ritatte in pianta dal naturale fino à cento pezzi, che sa-ra [n] no co [n] il medesimo libro. Co [n] che fine le bascio le manj, et le prego dal sig. Dio ogni felicita, et co [n] tento, desiderando io grandeme [n] te che mi coma [n] di semper ch'io possa seruire à .V. Sig [nori] a. Di Roma alli xxiiij di December. del LXXX. Di .V. Molto ecc [ellen] te sig [nori] a. Diuotiss [imo] Ser [uitore] F. Egnatio Danti.
  19. ↑ See Almagià 1944–1955, Vol. 4, p. 5.
  20. ↑ Cf. Pillsbury 1974, p. 434: "For these reasons the discovery of a series of contracts between the artist and the church authorities is welcome. Not only do these agreements illuminate the circumstances of the commission, informing us, for example, that the person responsible for the overall design was the Perugian scientist and artistic director, Padre Egnazio Danti [...]. "
  21. ↑ Cf. ASR, Arciospedale di Santo Spirito in Sassia, Busta 255, p. 61: “Item debbia et sia anco obligato, come similmente promette, dipingere tutta la chiesia atorno atorno dal fregio in su et tra le finestre, reservando però il piano sopra la porta grande di detta chiesia sotto l'occhio grande, con le storie, figure, grotteschi et altra sorte di pittura che dal R [everend] o Frate Ingnatio gli sarrà ordinato, conforme al desegno facto di tavole et carbone quali si conservarà apresso P [ad] re Ingnatio […]. "Quoted from Pillsybury 1974, p. 443.
  22. ↑ Ibid., P. 443 [Document 1]: "Et ogni diferenza che nascesse in qual si vogli modo per d [etta] pittura, l'una parte et l'altra si rimetteno al detto Pa [dr] e Ignatio."
  23. ↑ Ibid., P. 437.
  24. ↑ Ibid., P. 434.
  25. ↑ Ibid., P. 434: “Not only do these agreements [with Zucchi] illuminate the circumstances of the commission, informing us, for example, that the person responsible for the overall design was the Perugionan scientist and artistic director, Padre Egnazio Danti [...]. "
  26. ↑ Capone transcribed the following wording: "Il buon vecchio pensando di remunerarmi mi die il carico di questa chiesa di Alatri mandandomi quà a purgare i miei peccati contro ogni mio volere." Cf. Capone 1986, p. 174. In Le due regole Danti has formulated his displeasure somewhat more formally: "[...] Papa Gregorio, alla cui benignità è piaciuto in questa mattina di honorarmi del carico della Chiesa di Alatri, la quale se bene per la grauezza del peso superiore di gran lunga alle deboli for-ze mie, mi recaua piu tosto noia, che contento […]. “Cf. Danti / Vignola 1583, dedication to Giacomo Boncompagni [unpaginated]. Dubourg Glatigny drew attention to this more moderate tone. See Danti / Dubourg Glatigny 2003, p. 81.
  27. ↑ See ASV, Misc. Poor. I-XV, arm XIII-33, fol. 70v.
  28. ↑ The question of where Danti was buried remains to this day. Palmesi wrote that Danti was buried in the Cappella della Madonna del Suffragio of the Church of San Paolo in Alatri. Cf. Palmesi 1899, p. 114. Nothing of this has survived today. But there is a memorial stone for Danti in the church of San Paolo. The following inscription is noted on it, which, however, has to be dated to 1934: MEMORIAE ET CINERIBVS / IGNATII DANTI PERVSI-NI / SODALIS DOMINICIANI / COSMOGRAPHI ET MATHEMATICI PRAESTANTISSIMI / REFORMATIONIS PRAGORIANAE IPRINVTORIS / CORP HAC SACRA BASILICA RECONDITVM / DIVINO LVMINE MOTVS / INVENIT / V ID. MART. A MDLXXXIV / CAPITVLVM / MARIO TOCCABELLI EPISCOPO / POSVIT / A MCMXXXIV. During his time as bishop, Danti ordered that the cemeteries should be laid out outside the walls. He wrote: “Li Cimiterij si ter-ranno ferrati di muraglie, ò di steccati, acciò non vi entrino le bestie, ne meno vi si stia à giocare, ò far male; & nel mezzo vi si dirizzerà vna Croce di legno grande. ”Cf. Danti 1585b, p. 16, point 54. It cannot be assumed that this provision was valid up to the level of the clergy.
  29. ↑ Dubourg Glatigny compiled the posthumous new editions of Danti's writings. See Dubourg Glatigny 2011, pp. 129–142.
  30. ↑ Danti / Sacrobosco 1571: Egnazio Danti, La sfera di messer Giovanni Sacrobosco tradotta, emen-data et distinta in capitoli da Piervincentio Dante de 'Rinaldi, con molte et utili annotazioni del medesi-mo, rivista da frate Egnatio Danti cosmographo del Toscana, Florence: Stamperia de 'Giunti, 1571.
  31. ↑ Danti / Proklos 1573: Egnazio Danti, La sfera di Proclo Liceo tradotta da maestro Egnatio Danti cosmografo del serenissimo gran duca di Toscana, con le annotazioni, et con l'uso della sfera del medesimo, Florence: Stamperia de 'Giunti, 1573.
  32. ↑ Danti / Euclid 1573: Egnazio Danti, La prospettiva di Evclide nella quale si tratta di quelle cose che per raggi diritti si veggono, et di quelle che con raggi riflessi nelli specchi appariscono. Tradotta dal rpm Egnatio Danti cosmografo del serenissimo gran duca di Toscana. Con alcune sue annotazioni de 'luoghi più importanti. Insieme con la prospettiva di Eliodoro Larisseo cavata dalla Libreria Vaticana, e tradot-ta dal medesimo novamente data in luce, Florence: Stamperia de 'Giunti, 1573.
  33. ↑ Danti 1583: Egnazio Danti, Trattato del radio latino inventato dall'ill.mo et ecc.mo signor Latino Orsini, con li commentari del rpm Egnatio Danti da esso di nuovo ricorretto et ampliato con molte nuove operazioni, Rome: Accolti, 1583.
  34. ↑ Danti 1572: Egnazio Danti, La sfera del mondo ridotta in cinque tavole, Florence: Giorgio Mare-scotti, 1572.
  35. ↑ Danti 1577: Egnazio Danti, Le scienze matematiche ridotte in tavole dal reu. p. maestro Egnatio Danti publico professore di esse nello studio di Bologna, Bologna: Compagnia della stampa, 1577.
  36. ↑ Danti 1569: Egnazio Danti, Trattato dell'uso et della fabbrica dell'astrolabio. Di f. Egnatio Danti con l'aggiunta del planisfero del Roias, Florence: Stamperia de 'Giunti, 1569.
  37. ↑ Danti 1572: Egnazio Danti, La sfera del mondo ridotta in cinque tavole, Florence: Giorgio Mare-scotti, 1572.
  38. ↑ Danti 1578a: Egnazio Danti, Anemographia M. Egnatii Dantis mathematicarum artium in Almo Bononiensi Gymnasio professoris in anemoscopium verticale instrumentum ostensorem ventorum, Bolo-gna: Ioannem Rossium [Giovanni Rossi], 1578 [found in Courtright 2003, pp. 219-241 a translation of the Latin text into English - by Amanda Collins].
  39. ↑ Danti 1578b: Egnazio Danti, Trattato dell'uso et della fabbrica dell'astrolabio con la giunta del pla-nisferio del Rojas [2. Edition], Florence: Stamperia de 'Giunti, 1578.
  40. Jump up ↑ Danti 1576: Egnazio Danti, Usus et tractatio gnomonis magni, Bologna: Ioannem Rossium [Giovanni Rossi], 1576.
  41. ↑ Danti 1578a: Egnazio Danti, Anemographia M. Egnatii Dantis mathematicarum artium in Almo Bononiensi Gymnasio professoris in anemoscopium verticale instrumentum ostensorem ventorum, Bolo-gna: Ioannem Rossium [Giovanni Rossi], 1578 [found in Courtright 2003, pp. 219-241 a translation of the Latin text into English - by Amanda Collins].
  42. ^ Pascal Dubourg Glatigny: Il disegno naturale del mondo. Saggio sulla biografia di Egnatio Danti con l'edizione del "Carteggio", Passignano sul Trasimeno: Aguaplano, 2011.
  43. ↑ The text is only available in a few libraries. The copy of the Biblioteca Riccardiana in Florence was used for the present work. This bears the following signature: BRF, Misc. 571.20. The original manuscript is also kept in the Biblioteca Riccardiana and bears the signature: BRF, MS 2834 (Codice miscellaneo Riccardia-no). Baccini writes in his foreword: “[…] vorrà parlare del P. Egnazio Danti, al quale d'ora innanzi, oltre la fama, meritamente acquistata, di valente matematico e cosmografo del suo secolo, especially aggiunta l'altra d'architetto e non oscuro conoscitore di cose militari. “Cf. Danti / Baccini 1888.
  44. ↑ See Biblioteca Riccardiana Firenze, MS 2834.

bibliography

Euclides, Optica , tradotta dal RPM Egnatio Danti
  • Egnatio Danti, Les deux règles de la perspective pratique de Vignole , 1583 (commented translation), Pascal Dubourg Glatigny, Paris, 2003, ISBN 2-271-06105-9 .

Web links

Commons : Ignazio Danti  - collection of images, videos and audio files
personal data
SURNAME Danti, Ignazio
ALTERNATIVE NAMES Danti, Pellegrino Rainaldi (maiden name); Danti, Egnatio; Danti, Egnazio
BRIEF DESCRIPTION Italian mathematician
DATE OF BIRTH April 1536
PLACE OF BIRTH Perugia
DATE OF DEATH October 19, 1586
Place of death Alatri