On the Beauty of Women

First published in 1548, On the Beauty of Women purports to record two conversations shared by a young gentleman, Celso, and four ladies of the upper bourgeoisie in the vicinity of Florence. One afternoon Celso and the ladies consider universal beauty. On a subsequent evening, they attempt to fashion a composite picture of perfect beauty by combining the beautiful features of women they know. The standards of beauty established in the garden give way to the artistic, creative imagination of the human spirit, and the group's movement from garden to hall seems to echo the dialogue's movement from Nature to Art, from divinely to humanly created beauty. Konrad Eisenbichler and Jacqueline Murray have provided the first translation into English of Firenzuola's dialogue since the nineteenth century. In their introduction, they argue that Firenzuola's work presents a useful point of entry into the society and values of the mid-sixteenth century. In its discussion of beauty, the dialogue reveals the intersection of Neoplantonic philosophy and mathematically based artistic theory, both inherited from classical antiquity. Indeed, Firenzuola's treatise has been assessed as one of the most significant expositions of Renaissance aesthetics. First Published In 1548, Agnolo Firenzuola's On The Beauty Of Women Purports To Be The Record Of Two Conversations Shared By A Young Gentleman, Celso, And Four Ladies Of The Upper Bourgeoisie Of Prato, A Small City In The Vicinity Of Florence. Meeting One Afternoon In A Sun-drenched Garden, Celso And The Ladies Consider Universal Beauty As The Proper, Natural Balance Of Individually Beautiful Parts. On A Subsequent Evening, The Five Move To The Home Of One Of The Ladies And Attempt To Fashion A Composite Picture Of Perfect Beauty By Combining The Beautiful Features Of Women They Know. The Standards Of Beauty Established In The Garden Give Way To The Artistic, Creative Imagination Of The Human Spirit, And The Group's Movement From Garden To Hall Seems To Echo The Dialogue's Movement From Nature To Art, From Divinely To Humanly Created Beauty. Konrad Eisenbichler And Jacqueline Murray Have Provided The First Translation Into English Of Firenzuola's Dialogue Since The Nineteenth Century. In Their Introduction, They Argue That Firenzuola's Work Presents A Useful Point Of Entry Into The Society And Values Of The Mid-sixteenth Century. In Its Discussion Of Beauty, The Dialogue Reveals The Intersection Of Neoplantonic Philosophy And Mathematically Based Artistic Theory, Both Inherited From Classical Antiquity. Indeed, Firenzuola's Treatise Has Been Assessed As One Of The Most Significant Expositions Of Renaissance Aesthetics. Firenzuola Traces Ideas About The Creation Of Human Sexuality And The Essence Of Beauty From Plato's Symposium, Through Their Re-evaluation By Humanist Philosophers. On The Beauty Of Women May Also Be Placed In That Category Of Literature Popularly Known As Defenses Ofwomen. Just As The Role And Nature Of Man Was Redefined In Light Of Renaissance Humanism, So Too Did The Nature Of Woman Come Under Scrutiny. Aristotelian Philosophy's View Of Woman As Essentially Different From And Subordinate To Man Was Attacked By Neoplatonic Defenders Of Woman Who Saw Her Instead As Essentially The Same As But Accidentally Or Physically Dissimilar To Man. Firenzuola Presents A Philosophy Of Gender Equality Whereby Women And Men Are Equally Capable Of Virtue And Learning, A Point That Underlies The Dialogue But Does Not Dominate It. Eisenbichler And Murray's Translation Is A Faithful And Idiomatic Rendering Of Firenzuola's Original. The Translation Is Accompanied By Useful And Accessible Notes, Offering The Reader A Cultural, Intellectual, And Historical Context For The Treatise. On The Beauty Of Women Will Be Of Interest To Students And Scholars Of Renaissance Literature, Aesthetics, Art History, Women's Studies, And Early Modern Social History. Its Brevity, Readability, And Range Of Topics Make It Especially Suitable As A Text For University Courses In Any Of These Fields. First published in 1548, __On the Beauty of Women__ purports to record two conversations shared by a young gentleman, Celso, and four ladies of the upper bourgeoisie in the vicinity of Florence. One afternoon Celso and the ladies consider universal beauty. On a subsequent evening, they attempt to fashion a composite picture of perfect beauty by combining the beautiful features of women they know. The standards of beauty established in the garden give way to the artistic, creative imagination of the human spirit, and the group's movement from garden to hall seems to echo the dialogue's movement from Nature to Art, from divinely to humanly created beauty.