Abstract
Of the paintings that are part of Urbino’s history, the one that is usually considered the most mysterious and problematic is Piero della Francesca’s Flagellation. But there is another painting that also comes from Urbino which is just as mysterious and problematic: the so-called Doppio ritratto, or dual portrait, by the Venetian painter Iacopo de’ Barbari.
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Notes
- 1.
Before the Greek text of Euclid’s Elements prepared by Simon Grynaeus (1493–1541) in 1533 (and occasionally afterwards as well, as shown by the Italian translation by Tartaglia), the Elements were known only in Latin translations of Arabic translations from the Greek. In all these translations, the proposition in Book XIII which in Greek we find denoted as proposition 12 is indicated as proposition 8. In the portrait of Pacioli, the book on which his hand rests is his own edition of 1509, which he says is the corrected text of the ‘translation’ (in quotation marks because it the interventions are major) done by Campano in the mid-thirteenth century, based on a variety of Arabic sources. Thus, although the modern reader will identify it as proposition 12, here it is identified as proposition 8 because we are referring to the text that Pacioli knew. Many thanks to Fabio Acerbi, editor of Euclide, Tutte le Opere, Milan: Bompiani, 2007.
References
A. Ciocci, Luca Pacioli tra Piero della Francesca e Leonardo. Aboca Museum Edizioni, Sansepolcro, 2009.
Euclid, Euclide. Tutte le Opere. Introduction, translation, notes and critical apparatus by Fabio Acerbi. Bompiani, Milano, 2007.
E. Giusti (ed.), Luca Pacioli e la matematica del Rinascimento (Conference proceedings). Petruzzi, Città di Castello, 1998.
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Gamba, E. (2012). The Mathematical Ideas of Luca Pacioli Depicted by Iacopo de’ Barbari in the Doppio ritratto . In: Emmer, M. (eds) Imagine Math. Springer, Milano. https://doi.org/10.1007/978-88-470-2427-4_25
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