Cultural reception of geometry in early modern Europe

Euclid inspired Gothic architecture and taught Renaissance painters how to create depth and perspective. More generally, the success of mathematics went to its head, according to some, and created dogmatic individuals dismissive of other branches of learning. Some thought the uncompromising rigour of Euclid went hand in hand with totalitarianism in political and spiritual domains, while others thought creative mathematics was inherently free and liberal.

Transcript

Gothic architecture is known for its pointed arches. Unlike round arches like a classical Roman aqueduct for example. Those are semi-circular, but Gothic arches are steeper, pointier. Gothic buildings, cathedrals, have these arches everywhere: windows, doorways, and so on.

Gothic arches consist of two circular arcs. You can make it like this. First make a rectangular shape. Like a plain window or door. A boring old rectangle. Now let’s spice it up. Take out your compass, and put it along the top side of the rectangle. Draw two circular arcs going up above the rectangle. Use the top side of the rectangle as the radius, and its two endpoints as the two midpoints of the two arcs you are drawing. The two arcs make a pointed extension of the rectangle. Now you have your Gothic window.

If you have your Euclid in fresh memory you will recognize at once that this is precisely the type of construction involved in Proposition 1 of the Elements. Coincidence? No, I don’t think so. The Gothic style of architecture arose in Europe in the early 12th century, within a decade or two of the first Latin translation of Euclid’s Elements. If that’s not cause and effect, it‘s an incredible coincidence.

There is little direct documentation about this, but, I am quoting now from Otto von Simson’s book The Gothic Cathedral, “at least one literary document survives that explains the use of geometry in Gothic architecture: the minutes of architectural conferences held in 1391 in Milan. The question debated at Milan is not whether the cathedral is to be built according to a geometrical formula, but merely whether the figure to be used is to be the square or the equilateral triangle. The minutes of one particularly stormy session relate an angry dispute between the French expert, Jean Mignot, and the Italians. Overruled by them on a technical issue, Mignot remarks bitterly that his opponents have set aside the rules of geometry by alleging science to be one thing and art another. Art, however, he concludes, is nothing without science, ars sine scientia nihil est. This argument was considered unassailable even by Mignot’s opponents. They hasten to affirm that they are in complete agreement as regards this theoretical point and have nothing but contempt for an architect who presumes to ignore the dictates of geometry.”

So the geometrical ethos was very strong indeed. This hardline view probably softened a bit over time. Renaissance art is more expressive, emotive, more alive, one might say, than this rigid late medieval stuff. That’s if we fast-forward two hundred years from these Gothic conferences about how art is nothing without geometry.

Then you have people like Michelangelo who said: “the painter should have compasses in his eyes, not in his hands.” I suppose it means that art should go a little more by feeling and intuition, and not be completely dictated by mathematics. But you still have “compasses in your eyes,” so there’s still a very significant role for geometry, it seems.

It is also revealing, perhaps, that Michelangelo thought it was important to point this out at all. I guess there were a lot of artists with compasses in their hands running around back then. Why else would Michelangelo feel the need to criticise that practice?

In fact, geometry proved useful to art again, in new ways, in the Renaissance. At this time artists discovered (or perhaps rediscovered) the geometrica