On the Renaissance in generalCivil life [la repubblica], extinguished by the barbarians [during the Middle Ages], after many decades was rebuilt [in the Renaissance] on the same orders [as in Ancient Rome], that is, that the turf of philosophers was the Probable, of mathematicians was the True. Therefore, all the arts and disciplines of honesty, comfort, and human pleasure were given back their old glory, and in some fields, even more than back then.Now, however, those orders have been upset [by Cartesian dogmatism, etc.] once again, and what should be considered the Probable has usurped the place of the True. “Demonstration” has been turned into a mean word. . .
On (Baroque) artIn the imitation-based arts, such as Painting, Sculpture, Pottery, Poetry, the most excellent authors are those who embellish the archetype, taken from the commonly known Nature, with not common, but new and amazing details; or, what had already been expressed by another artist, they resume in a personal and better way, making it distinct as their own work.
From Giambattista Vico's book De antiquissima Italorum sapientia, “On the most ancient wisdom of the peoples of Italy,” i.e., even before the Romans; first published in 1710. The passage on art, from the book itself, is in Latin, while the excerpt on Renaissance comes from the author's “Replies” to some objections, and was written in Italian. In the bilingual edition shown in the photo above, published by Diogene Edizioni, the afterword by Claudia Megale deals with the success of Vico's ideas in psychoanalysis, especially Jungian.