If anything stands out as the Renaissance art-historical period is, without doubt, by the proliferation of theories and / or ideologies about LOVE. For Ficino, for example, we owe the equation EROS = MAGIC. And this magic is indebted to the Arab magic in a long time due to their premises of Greek and Oriental. Humanists will definitely combine Neoplatonism and the work of al-Kindi. Love is a magician and, therefore, call magic to the operation by which Eros on some things by similarity to other natural. This is what others have called "sympathetic magic." Eros is a universal spirit that pervades everything and following the macrocosm-microcosm belief, each particular soul, love and beautiful, created with his actions, his words and favors a magic net around the object of his love. With this network the lover seeks to "bind" magically the other, closer, to be matched. In short, this scheme corresponds to that made by Giordano Bruno as "link of links." Renaissance theories of love is based on the theory d elas radiation al-Kindi, who argued that each star has a nature that connects the world through its rays. Their influence on terrestrial objects is established by similarity between subject and object. This allows Ficino and Bruno replace the term "radiation" by "Eros." To some extent, which are combining theories here are animists and mechanistic theories of love. The same can be said about the magnetic theory, based on the law of attraction of bodies. Bodies (and souls) are attracted by a certain natural resemblance, so that love is presented as a physical force impregnable.
This would explain the importance of eyes in the majority of Renaissance texts. Continuing with the topic of OPTICAL WOUND, masterfully made in the Roman de la Rose, the rays (arrows) of Eros catch the eye to settle on the soul and also the beloved's eyes are those that implement such rays, such as sunlight. This does not mean anything but the eyes are the gateway to love, but also its output. Hence, when one is not matched (NO status, state of darkness and forgetting), the expression of pain is given by TEARS (main output, for the eyes) and to a lesser extent, SIGHS (mouth, secondary output). This metaphor about light radiation, sympathy, is also supported by mechanistic theories: just as the Earth is attracted by the sun and this gives life (movement) on one, the lover and the poet experiences love breathed the lady, whose movement is revealed explicitly in the topic of a pilgrim of love, if the sun goes out, the Earth would die (stop motion), if the lady fails to "enlighten" the poet, he would die anyway. This explains why the Renaissance poet Petrarch was obsessed, "stop", stop, to "contemplate their state." Her lack of movement by the absence of the lady literally means the absence of himself, extinction.
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