La scultura dell’«ottimo artista». Palingenesi estetico-amorosa tra Marsilio Ficino, Giulio Camillo e Francesco Patrizi da Cherso

Starting from the Corpus Hermeticum the intersection between philosophical-theological speculation and magical-civil action, embodied by animated simulacra, was of fundamental importance. The close link between the divine measurements of the animated statues and the poetic song, modulated according to specific linguistic proportions, was strongly codified. The hermetic teachings were deeply used by Marsilio Ficino. Following this line of investigation, the aim of this contribution is also to examine the relationship between statuary art and poetical magic within the Hermetic-Platonic trend, in particular regarding two great protagonists of it in Italy, after Ficino: Giulio Camillo and Francesco Patrizi da Cherso.