Abstract

This essay describes the tolerance characterising city life at the time, the generosity and the artistic proficiency of cardinal Grimani, and the unorthodox religious views of Giorgio Veneto. It then moves on to an overview of art criticism on Bosch's work and continues exploring the relationship between Pacioli - theorist of «divine proportions» - and his friend Leonardo da Vinci. Finally, the focus moves on Dürer's Melencolia I and the influence of the great engraver's on German art.