Pythagoras and his disciples
Grammar, Arithmetic and Music
(p. 34)
"The 'emblematic image' on the tablet held at
Pythagoras's feet is the clue that the fresco is
about the mathematical harmonies of the universe.
Balancing the Pythagorecians around the slate at
the lower left are the astrologers,
symmetrically placed on the other side of the
foreground. These two groups are rightly
represented as conterparts, for what the
Pythagoreans defined with musical consonances, the
astrologers found out by studying the sky. Plato's
raised finger expresses a final connection: from
the science of numbers comes music; from music
comes cosmic harmony; and from cosmic harmony comes
the divine order of ideas." (p. 34)
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30. "This may be Terpander or Nicomachus or else another
musician and follower of Pythagoras, who was of the opinion
that the turning of the stars and the motion of things
occurred not otherwise than according to the rules of music
(p. 52)."
31. "This is held to be Francesco Maria della Rovere, the
duke of Urbino, the pope's nephew, aged twenty at that time.
And it really appears as if he comes here through desire and
longing to learn the noble studies and the most worthy arts
(p. 50)."
32. Pythagoras' disciple holding an abacus "on which the
numbers are depicted and the consonances of song (p.
49)".
32-35. "Next to Pythagoras come his disciples Empedocles,
Epicharmus, and Archytas; one of them, completely bald,
sitting at his side behind him writes on his knee (p.
50)."
33. Pythagoras [and not the Evangelist Matthew
according to Vasari in the 16th c. (p. 22, 154)]
"is seen sitting, surrounded by his disciples, writing his
philosophy based on the harmonic proportions of music
(p. 49)."
34. Wheter the marvelous old man who copies the words of
Pythagoras is Empedocles, or Zeno, or Archytas of Tarentum,
he communicates the urgency of the true scholar at work with
utter clarity. He could also be: Iamblichus, Plotinus or
Boethius (p. 155).
35. A turbaned, moustachioed figure clad in purple and
bending forward with a courtly hand placed on his heart
(p. 154).
36. "Federico, second duke of Mantua, who
was in Rome when the painting was executed (p. 22)",
presumably identified by Vasari (16th c.) as n° 24.
37. Epicurus (p. 102, 158): "this man wears a wreath
of oak leaves, the emblem of Pope Julius, to whose name
Raphael dedicated the work signifying the golden age of this
pontiff, his benefactor (p. 50)." "Epicurus crowned in
the ivy that signified participation in a drinking party buy
engrossed in a book, may also be identified with a fair
degree of probability, his back turned to the Pythagoreans
and Socratics, and indeed to the rest of this school
(p. 158)."
39. A "boy (p. 50)" or a child.
40. An old man (p. 50).
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