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id="flowPara3342">Book I Chapter II. 2 Wisconst (Mathēsis), or the art of what is certain </flowPara><flowPara
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id="flowPara3346">Given its affinity with the ideas of Leone Battista Alberti (1404-1472)1 and Pietro Cataneo (c. 1510-c. 1574)2, On the Ordering of Cities (1599) is usually situated within the tradition of the ideal city, the tradition of the Città Ideale. ‘His (Stevin’s) proposals regarding the city resonate so deeply with the (…) Italian treatises that his book is best understood in the light of this tradition.’3 Viewed as a typical intellectual product of its time, the work enjoys a far greater reputation than it does when seen as in purely pragmatic terms. These interpretations have long dismissed it as either a collection of utopian and literary fantasies or a meticulous study of the Dutch city. The interpretation as part of the tradition of the ideal city inserts the document into the classifications deployed in the history of ideas with its penchant for creating series. It is therefore all the more surprising that immediately after this insertion On the Ordering of Cities (1599) is found to deviate from this Italian and French dominated tradition as well and that precisely herein lies its meaning. The deviation is thought to be the starting point for a new series, that of the Dutch city and Dutch town planning in the seventeenth century. These conclusions are arrived at by adopting a typical art-historical approach, by concentrating on the forms of the cities and comparing them. Stevin is thought to have prised a new type, the rectangular city, out of a tradition epitomized by the circular form and the polygon with radials.4The Città Ideale was a typical product of Renaissance culture. It was defined by the law of proportion and the epistèmè of the similitudes. Alberti was the first architect and theoretician who, for aesthetic reasons, drew up rules that pointed in the direction of an idealization of the city. Like his contemporary Filarete (1400-?), who surrounded his ideal city Sforzinda (c 1460) with a star shape inscribed within a circle [Fig. II.1], Alberti praised the circle and regular polygon as the most suitable shapes for the city. He drew on military arguments as well as an array of astrological, magical and historical concepts that epitomized Renaissance culture. [See BOOK III, Appendix 5 Alberti: Mingling, Resemblance and ‘As If’] Equally characteristic was the design by Francesco di Giorgio Martini (1439-1501/2) which proportioned the city to the scale and shape of the human body. Juxtaposed with a series of models of regular polygonal city plans, he drew a square with a circle inscribed within it, inside of which was a human figure. 5 [Fig. II. 2 and 3] This image of the city scaled to human dimensions had a profound impact on the theory and practice of town planning during the Renaissance. The comparison was Martini’s response to the relationship between microcosm and macrocosm, which was seen as a neo-Platonic structure: man’s body is a sign of God. This axis of representation was not autonomous, but played a central role in the web of similitudes spun between language and objects. The notion that every single phenomenon could be a sign of yet another phenomenon was the fundamental principle of knowledge (savoir) during the Renaissance. [Excursion 7: The Signs of the World] The ideal radial city usually consisted of right-angled streets which fanned out from a central square and which were sometimes linked by concentric streets with secondary squares. Much of the debate about the radial city took its cue from the works of Vitruvius. Although plans for rectangular grid patterns were known in the fifteenth century, the circular outline was consistently deemed superior, for both scientific and military reasons. Around the middle of the sixteenth century attention shifted from the city’s perimeter to its internal structure. The rectangular configuration became the dominant form. New-found wealth dictated this change, as did the fact that theorists began to take the actual city more seriously. Nonetheless, the model of the radial city remained the basis for the sophisticated perfection of fortress building, which severed all links with civilian architecture at this time. From then on the city, as an object of knowledge, was analysed in two fields, each of which developed along independent lines and often had to be reconciled within a specific design. The military engineer Francesco de Marchi (1504- 1576) fully accepted the city as a given and had little or no interest in the symbolic and emblematic meanings of the radial city. Nonetheless, his drawings show that he retained the circle as the ideal outline, albeit strictly for military reasons. These developments justify the conclusion that Simon Stevin’s rectangular city evolved from this predilection for the principles of internal order. Although his treatise was the first and foremost dissertation in the Dutch-speaking world about the city as a whole, it was also the last to treat the city as a crystallization point of wealth and the defensible place combined. In Nieuwe vestingbouw op een natte of lage horisont (1685; New fortress building on wet or low ground/horizon) by Menno van Coehoorn (1641-1704)6 the detailed drawings of the fortifications featured no city plans at all. [Fig. II. 4]Why would Stevin’s plan represent an ideal city rather than something else? Why would it be a product of the Renaissance rather than of something else? Why would it be an item in a series rather than a unique web in which an array of historical chains and fields of knowledge have been condensed?</flowPara><flowPara
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id="flowPara3630"> The interpretation as part of the tradition of the ideal city inserts the document into the classifications deployed in the history of ideas with its penchant for creating series. It is therefore all the more surprising that immediately after this insertion On the Ordering of Cities (1599) is found to deviate from this Italian and French dominated tradition as well and that precisely herein lies its meaning. The deviation is thought to be the starting point for a new series, that of the Dutch city and Dutch town planning in the seventeenth century. </flowPara><flowPara
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