La importancia que tiene el relato de la creación del mundo (Gen 1-2) para judíos, cristianos y musulmanes, se refleja en diferentes manifestaciones artísticas medievales. Este artículo analiza algunas de las representaciones a que dio lugar dicho relato, y al uso diverso del lenguaje artístico –figurativo y no figurativo– a que recurrieron los artistas. La segunda parte del artículo se centra en el examen de la Sinagoga del Tránsito de Toledo y propone, a través del estudio conjunto de decoración y (...) epigrafía, y de algunos referentes culturales judíos, una interpretación que descubre en sus muros una representación no figurativa y simbólica del capítulo primero del Génesis. (shrink)

This paper is focused on one of the key questions constituting the medieval debate about the ontological status of artefacts, which has to do with the productivity of art. We ordinarily speak about artefacts, such as statues or chairs, as produced by their artificers, and Aristotle describes art in general as a productive habit. In the first part of the paper, I look at how the proponents of the realist view of artefacts argue that the productivity of art can only (...) be explained if we endorse their view, on which by producing an artefact an artificer brings about a new thing in the world, which is distinct from the natural things used in its production. I then turn to the reductionist account of artefacts and examine how its proponents want to show that the productivity of art can be preserved without positing that an artefact must be a new thing in the world, distinct from its natural components. In the final part of the paper, I look at one of the further corollaries of this debate, which has to do with the connection between the productivity of art and natural change. (shrink)

Contents Acknowledgements vii Illustrations ix Preface xi Further Bibliography of A.C. Crombie xiii 1 Designed in the Mind: Western visions of Science, Nature and Humankind 1 2 The Western Experience of Scientific Objectivity 13 3 Historical Perceptions of Medieval Science 31 4 Robert Grosseteste 39 5 Roger Bacon [with J.D. North] 51 6 Infinite Power and the Laws of Nature: A Medieval Speculation 67 7 Experimental Science and the Rational Artist in Early Modern Europe 89 8 Mathematics and Platonism in (...) the Sixteenth-Century Italian Universities and in Jesuit Educational Policy 115 9 Sources of Galileo Galilei’s Early Natural Philosophy 149 10 The Jesuits and Galileo’s Ideas of Science and of Nature [with A. Carugo] 165 11 Galileo and the Art of Rhetoric [with A. Carugo] 231 12 Galileo Galilei: A Philosophical Symbol 257 13 Alexandre Koyré and Great Britain: Galileo and Mersenne 263 14 Marin Mersenne and the Origins of Language 275 15 Le Corps à la Renaissance: Theories of Perceiver and Perceived in Hearing 291 16 Expectation, Modelling and Assent in the History of Optics: i, Alhazen and the Medieval Tradition; ii, Kepler and Descartes 301 17 Contingent Expectation and Uncertain Choice: Historical Contexts of Arguments from Probabilities 357 18 P.-L. Moreau de Maupertuis, F.R.S. : Précurseur du Transformisme 407 19 The Public and Private Faces of Charles Darwin 429 20 The Language of Science 439 21 Some Historical Questions about Disease 443 22 Historians and the Scientific Revolution 451 23 The Origins of Western Science 465 Appendix to Chapter 10: 479 Sources and Dates of Galileos Writings [with A. Carugo] Pietro Redondi, Galileo eretico [with A. Carugo] Mario Biagioli, Galileo, Courtier Corrections to Science, Optics and Music in Medieval and Early Modern Thought 495 Index 497. (shrink)

Arts of Allusion: Object, Ornament, and Architecture in Medieval Islam By GravesMargaret S., xi + 339 pp. Price HB £55.00. EAN 978–0190695910.

This article deals with the first Latin reception of Pseudo-Aristotle’s On Indivisible Lines and its impact on the medieval debate about the continuum. Robert Grosseteste’s and Albert the Great’s references to this pseudo-Aristotelian text show that it could be regarded as a source for where to find information about the indivisibilist tenet, as well as an expansion of Aristotle’s anti-atomistic critiques scattered throughout his authentic works. The use of On Indivisible Lines made by Henry of Harclay and Adam of Wodeham (...) confirms this trend: the reading of this text could be twofold according to the tenet defended. While Henry argues against Pseudo-Aristotle to defend indivisibilism, Adam expands on pseudo-Aristotelian arguments to show the incongruities implied by indivisibilism. (shrink)

The meaning of the noun 'creation', and the verb 'to create', range from the traditional theological idea of God creating ex nihilo to a more recent sense of the process of artistic conception. This collection of thirteen essays, written by scholars of music, literature, the visual arts, and theology, explores the complicated relationship between medieval rituals and theology, and the development of an idea of human artistic creation, which came to the fore in the sixteenth century. The volume concentrates on (...) the period from the Carolingians to the Counter-Reformation but also includes some twentieth-century musicians. Each essay is dedicated to a particular topic concerned with ritual or artistic beginnings, inventions, harmony and disharmony, as well as representations or celebrations of creation. Central themes include the interplay of the ideas of God as creator, of God acting and recreating in medieval liturgy, of God as artist - the deus artifex of the Pythagorean cosmology, which was occasionally referred to as recently as the early nineteenth century -and, finally, of the homo creator, a concept in which man reflected (and eventually replaced) God in his artistic creativity. This book therefore features new, significant, individual contributions from a range of scholarly disciplines, but, taken as a whole, it also constitutes a complex interdisciplinary study, with large-scale historical constructions. (shrink)

Those philosophers who are interested in the contemporary philosophy of all countries have come to recognize the importance of the “neo-scholastic” or “neo-thomist” movement. This current of ideas is not least strong in France, owing much at the present time to the work of Jacques Maritain. In this essay I propose to consider neo-thomist ideas in the field of art, limiting myself somewhat arbitrarily to their expression by Maritain and their application to French art throughout the period in which thomism (...) has appeared in “modern dress,” i.e. since 1879, the date of the famous papal encyclical Æterni Patris . This limitation is arbitrary, since in the first place there are living thomists who do not agree entirely with Maritain's interpretation of St. Thomas, and in the second place scholastic principles, if true, must from their nature apply to art as such—Greek, mediaeval, and modern, to say nothing of Oriental and primitive art. (shrink)

As a contribution to the Common Knowledge symposium “Caroline Walker Bynum across the Disciplines,” this essay stresses Bynum's commitment to the methods and questions of history but also the unparalleled impact of her work on adjacent fields, including and perhaps even especially art history. Furthermore, her body of scholarship registers a consistent engagement with art historians. Weaving together personal memoir and historiography, this article sketches the manifold ways in which Bynum's publications have responded to and shaped the contours of medieval (...) art history in America since the early 1990s — particularly with respect to questions of gender, body, identity, violence, and materiality — and the formative role that her mentorship and pedagogy have played in the author's development as an art historian. (shrink)

Among the literary arts of the Middle Ages, the creation of texts within strict parameters held a fascination for many poets. Acrostic poems, tricky meters, frequent rhyme, and other limitations often spurred those who sought expression in words.

The Performing Arts in Medieval Islam: Shadow Play and Popular Poetry in Ibn Dāniyāl’s Mamluk Cairo. By Li Guo. Islamic History and Civilization, vol. 93. Leiden: Brill, 2012. Pp. xiii + 240. $136.

From Pier Paolo Pasolini’s Decameron and Canterbury Tales to Monty Python’s televisual riffs on Arthurian legend in the 1970s and role-playing games like Pendragon or Hidden Kingdom, a fascination...

Authentic Replicas: Buddhist Art in Medieval China by Hsueh-man Shen. Honolulu: University of Hawai‘i Press 2019. 352 pp.; 132 illustrations, 113 in colour. Hb $72 ISBN-13: 9780824867058.

This paper presents new results regarding six Arts Masters of the Late Middle Ages. First of all, a new search target for the lost work Logica of Thomas of Cleves is suggested: a question commentary on Peter of Spain should be searched for. Second, recent research has shown that John of Hokelem is a prolific author: further findings are added here. A third notable magister artium Parisiensis of the late 14th century is Christian of Ackoy: in addition to his known (...) works, some new findings are discussed as possible or even probable works by him. Finally, the bibliography of an important magister artium Pragensis, Helmold of Salzwedel, as well as that of two Viennese Arts Masters, Conrad Seglauer and John Gossolt, is improved. In this way, the paper offers new insights into the manuscript tradition of late medieval philosophy and provides some corrections to the standard literature (C. H. Lohr, M. Markowski, and others). (shrink)