Thorndike 1929 places him in the context of medieval science in general, while Donato 1996, Oliviero 1995, De Robertis 1976, and Wieruszowski 1953 place him in the context of the city of Arezzo’s scientific and cultural importance in particular. More than a century would pass before Morino 1997 sparked a resurgence of scholarly interest in Ristoro’s life and work. Modern studies on Ristoro began with Narducci 1859. Zancanella 1935 is a monograph dedicated to the interpretation of scientific expressions in Ristoro, but there is no major study of Ristoro that would meet international academic standards, and no collections of articles exclusively dedicated to this author have ever been published. To date, none of these ascriptions can be sufficiently proven.Ī detailed overview of Ristoro’s life and only remaining work is provided in Morino 2006, Morino 2007, and Piciocco 2016. It is difficult, however, to try to identify Ristoro with contemporary local artists sharing the same name.
#Medieval illuminations eclipse full
His text is full of analogies taken from the arts of painting, mosaic, goldsmithing, and metallurgy, presenting the world as a huge mosaic waiting to be decoded. Based on recent research, it is highly improbable that he was either a professed monk or a Dominican architect. There has been much speculation about his intellectual and professional background. He was an adult in 1239, when he viewed a total eclipse of the sun. Ristoro (Restoro in the local phonetic form used at Arezzo) was born in Arezzo at an unknown date in the first decades of the 13th century, when the city was a stimulating intellectual center. According to the explicit, it was finished in 1282. The scarce information we have about the life of Ristoro d’Arezzo is obtained from his only surviving work, La composizione del mondo colle sue cascioni.
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