Abstract
The Renaissance brought along with itself a multitude of reforms inspired by Humanism. Among them, the substantial change in the artistic precepts. Artists and poets progressively abandoned the strict allegorical and moralistic normative of medieval Christian aesthetics and went deep into the unexplored territory of a new poetic and rhetorical doctrine. Thanks to the Renaissance reading of Greco-Latin philosophers and grammarians, it is configured a first theory of modern art on a series of humanistic topics based on the classic Hellenistic aesthetics. One of the most prominent common places in this sense was the horatian ut pictura poesis topic, which inspired to the poets and artists in the Renaissance and Baroque a shared normative ruled by the mimesis, decorum, codes and imitative modes. The Spanish Golden Age writers and artists were not unaware of this fever, consisting in the systematical sisterhood of the arts beyond their possibilities and limits. Taking into account these issues, this paper analyzes the trace left by the poetic doctrine ut pictura poesis in the Habsburg Spain, in order to broaden our knowledge about the dawn of art theory in the Modern Age.
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