The humanist theory of the nude is one of the places where what can be called a ‘poor metaphysics’ developed during the Renaissance. To construct the concept of the nude as a representation of man in his own right, art theorists used common scholastic categories such as substance and accident, form and matter, potentiality and actuality, quantity and quality, whole and part, soul and body. Resolutely poor in its object – the human body, the work of art – and in its form – technical treatise, fictional dialogue, or simple working notes – this reflection is nonetheless rich and original because of what constitutes its very weakness: the contamination of the Aristotelian metaphysical tradition with Neoplatonism, Vitruvianism, elements of natural philosophy, musical theory, and even Kabbalah. It testifies less to the permanence of scholastic metaphysics during the Renaissance than to the ingenious adaptation of its tools to new, humbler, and more rebellious objects of thought.
