Written by an eminent authority on the Renaissance, this collection of essays focuses on topics such as humanist learning, humanist moral thought, the diffusion of humanism, Platonism, music and learning during the early Renaissance, and ...

Apin's cabinet of printed curiosities -- Thinking through plural images of logic -- The visible order of student lecture notebooks -- Visual thinking in logic notebooks and Alba amicorum -- The generation of art as the generation of philosophy.

Did the Florentine philosopher Marsilio Ficino (1433-99) influence the art of his time? Art historians have been fiercely debating this question for decades. This book starts with Ficino's views on the imagination as a faculty of the soul, and shows how these ideas were part of a long philosophical tradition and inspired fresh insights. This approach, combined with little known historical material, offers a new understanding of whether, how and why Ficino's Platonic conceptions of the imagination may have been received (...) in the art of the Italian Renaissance. The discussion explores Ficino's possible influence on the work of Botticelli and Michelangelo, and examines the appropriation of Ficino's ideas by early modern art theorists. (shrink)

Johannes Jessenius became known by his contemporaries mostly as an exponent of the Italian anatomical Renaissance in Central Europe at the end of the sixteenth and at the beginning of the seventeenth century. The image of Jessenius in the twentieth century was also created with respect to his activities in the area of anatomy in Wittenberg and Prague in particular. The aim of this article is to put Jessenius into the context of the development of anatomy in the sixteenth (...) century. An important point in this progression can be seen in the change of the definition of anatomy from the art of dis- secting bodies and a “method” of instructing students to the way of acquiring knowledge of bodies and nature. The crucial role in this process played anatomical writings of the second half of the 16th century and the development seems to be connected with methodological discussions at the University of Padua. Jessenius, in his anatomical writings, primarily followed the Paduan anatomist Andreas Vesalius, whose work De humani corporis fabrica expresses the fundamental change in Renaissance anatomy. In addition, the methodological background of the anatomical Renaissance, which Jessenius became acquainted with during his studies in Padua, also echoes in Jessenius’ works. (shrink)

In this Volume, published in1998, Fifteen scholars reveal the ways of preserving, conceiving and creating beauty were as diverse as the cultural influenced at work at the time, deriving from antique, medieval and more recent literature and philosophy, and from contemporary notions of morality and courtly behaviour. Approaches include discussion of contemporary critical terms and how these determined writers' appreciation of paintings, sculpture, architecture and costume; studies of the quest to create beauty in the work of artists such as Botticeli, (...) Leonardo, Raphael, Parmigianino and Vasari; and the investigation of changes functioning of the eye and brain, or to technical innovations like those found in Venetian glass. (shrink)

Piero della Francesca is best known as a painter but he was also a mathematician. His treatise De prospectiva pingendi is a superb example of a union between the fne arts and mathemati‑ cal sciences of arithmetic and geometry. In this paper, I explain some reasons why his paint‑ ing is considered as a part of perspective and, therefore, can be identifed with a branch of geometry.

The U.S. occupation of Japan transformed a brutal war charged with overt racism into an amicable peace in which the issue of race seemed to have disappeared.

© Mind Association 2018Some time ago I was at the Bibliothèque Nationale in Paris investigating the teaching of philosophy during Descartes’ time. Fine monographs had already been published on the various regimens and practices at Descartes’ college at La Flèche, and Jesuit institutions in general, as well as the collegiate curriculum in seventeenth-century France. But as interested as I was in the form of the teaching—how philosophy was taught, where, and when—I was more interested in its content—what was actually taught. (...) A fair number of early modern textbooks and some manuscripts of lectures and student notebooks were still available; beyond that, one could find reports of weekly or monthly disputations, condemnations of specific doctrines, various broadsheets, manifestos, and student theses and dissertations. After overcoming some administrative resistance, I found myself in a room at the Cabinet d’Estampes looking at a... (shrink)

Renaissance Thought and Its Sources presents the fruits of an extraordinary lifetime of scholarship: a systematic account of major themes in Renaissance philosophy, theology, science, and literature, show in their several settings. Here, in some of Paul Oskar Kristeller's most comprehensive and ambitious writings, is an exploration of the distinctive trends and concepts of the Renaissance, grounded in detailed historical investigation.All of these fourteen essays were originally delivered as lectures. Part One identifies the classical sources of (...) class='Hi'>Renaissance thought and exposes its essential physiognomy, indicating its humanist, Aristotelian, and Platonist traditions. The next two parts present Renaissance thought in the historical context of the Latin and Greek Middle Ages. Part Four offers a thematic study of Renaissance thought, examining its characteristic conceptions of man's dignity, destiny, and grasp of truth. Part Five forms a summary from the perspective of a central theme of Renaissance intellectual life and of the entire Western tradition: the relation of language to thought and the seemingly insoluble contest between our literary and philosophical traditions.The reader of "Renaissance Thought and its Sources" enjoys the results of meticulous study in a concise yet comprehensive format. Throughout, Kristeller achieves a graceful blending of sever historical scholarship and adherence to humane values that the editor calls "nearly a lost art in our times.". (shrink)

Les essais de ce recueil étudient les différentes représentations de l'ascension de l'âme dans des sources anciennes et prémodernes, de Platon à Pierre Charron, en passant par la patristique grecque, l'iconographie byzantine, les théologiens chrétiens médiévaux, les philosophes et peintres catholiques de la Renaissance et les kabbalistes juifs du XVIe siècle. Ainsi, ce livre forme un répertoire détaillé des manières dont ont été imaginées à travers les siècles les vacations de l'âme après sa séparation du corps. Comment se représenter (...) l'ascension? Qu'est-ce qui se passe dans les régions supraterrestres? S'agit-il d'un envol vers une vérité morale, vers une unité sublime ou vers un double sublimé de la réalité terrestre?"--Page 4 of cover. (shrink)

By far the best collection of sources to introduce readers to Renaissance humanism in all its many guises. What distinguishes this stimulating and useful anthology is the vision behind it: King shows that Renaissance thinkers had a lot to say, not only about the ancient world--one of their habitual passions--but also about the self, how civic experience was configured, the arts, the roles and contributions of women, the new science, the 'new' world, and so much more. --Christopher S. (...) Celenza, Johns Hopkins University. (shrink)

Introduction -- Great Mother Nature -- The gendering of nature as female : from prehistory through the Middle Ages -- Nature and art in the Quattrocento : from pupil to equal -- Technology and the mastery of physical nature : Brunelleschi and Alberti -- Genesis and the reproduction of life : Masaccio and Michelangelo -- The rebirth of Venus and the feminization of beauty : Botticelli -- A balance of power : pictorial metaphors for nature in transition -- Nature's special (...) child : Leonardo da Vinci -- The goddess in Arcady : Giorgione -- Art and nature in the Cinquecento : from competitor to master -- Love and death in Venice : Titian -- Art against nature : Raphael, the early Mannerists, and late Michelangelo -- Natura bound : the later Tuscan Mannerists -- Epilogue. (shrink)

Hans Belting, _Florence and Baghdad: Renaissance Art and Arab Science_, trans. Deborah Lucas Schneider (Cambridge, MA: Harvard University Press, 2011), 303 pp.

Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a (...) text but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renown Renaissance artists created imaginative syntheses between their art and contemporary cosmology, philosophy, theology and magic. The Neo-Platonism in the books by Marsilio Ficino and Giovanni Pico della Mirandola became widely acknowledged for their lasting influence on art. It thus became common knowledge that Renaissance artists were not exclusively concerned with problems intrinsic to their (...) work, but that their artifacts encompassed a much larger intellectual and cultural horizon. This volume brings together historians - both those concerned with the history of their own discipline and also those whose research is on the art and culture of the Italian Renaissance itself - with historians from a wide variety of specialist fields, in order to engage with the contested field of iconology. The book will be of interest to scholars working in art history, Renaissance history, Renaissance studies, historiography, philosophy, theology, gender studies, and literature. (shrink)

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. (shrink)

'ith the rise of naturalism in the art of the late Middle Ages and the Renaissance there developed an extensive and diverse literature about art which helped to explain, justify, and shape its new aims. In this book, David Summers provides an original investigation of the philosophical and psychological notions invoked in this new theory and criticism. From a thorough examination of the sources, he shows how the medieval language of mental discourse derived from an understanding of classical thought. (...) 'Some of the most striking observations in this impressive book involve stepping outside the history of ideas to ground these theories in a more general social history.' -- British Journal of Aesthetics 'This brilliant, stimulating study in the history of ideas should become indispensible for renaissance art historians, and for philosophers interested in the history of the philosophy of mind and in what might be called thepre-history' of aesthetics.' -- ChoiceWith the rise of naturalism in the art of the late Middle Ages and the Renaissance there developed an extensive and diverse literature about art which helped to explain. (shrink)

In the Renaissance, educating for philosophy was integrated with educating for an active role in society, and both were conditioned by the prevailing educational theories based on humanist revisions of the trivium. I argue that women's education in the Renaissance remained tied to grammar while the education of men was directed toward action through eloquence. This is both a result of and a condition for the greater restriction on the social opportunities for women.

This article explains the philosophy of Leonardo da Vinci, who through his writings, designs and pictorial work, shows a tension and rupture on the art, beauty and truth of his time. Painting is scientific and therefore a liberal art, but it does not manifest the sacred truth of the icon of the medieval finalist worldview, but it will be the scientific truth of Modernity.

This collection offers a set of new readings on the history, meanings, and cultural innovations of the grotesque as defined by various current critical theories and practices. Since the grotesque frequently manifests itself as striking incongruities, ingenious hybrids, and creative deformities of nature and culture, it is profoundly implicated in early modern debates on the theological, philosophical, and ethical role of images. This consideration serves as the central focus from which the articles in the collection then move outward along different (...) lines of conceptualization, chronology, cultural relevance, place, and site. They cover a wide spectrum of artistic media, from prints to drawings, from sculptures to gardens, from paintings to stuccos. As they do this, they engage with, and bring together, theoretical perspectives from writers as diverse as Plato and Paleotti, Vitruvius and Vasari, Molanus to Montaigne. Whether travelling a short distance from Nero's Domus Aurea to Raphael's Vatican logge, or across the ocean from Italy to New Spain, this volume goes further than any previous study in defining the historic understanding of grotesque and, in so doing, providing us with a more nuanced resource for our understanding of an art form once viewed as peripheral. (shrink)

The Renaissance, known primarily for the art and literature that it produced, was also a period in which philosophical thought flourished. This two-volume anthology contains 40 new translations of important works on moral and political philosophy written during the Renaissance and hitherto unavailable in English. The anthology is designed to be used in conjunction with The Cambridge History of Renaissance Philosophy, in which all of these texts are discussed. The works, originally written in Latin, Italian, French, Spanish, (...) and Greek, cover such topics as: concepts of man, Aristotelian, Platonic, Stoic, and Epicurean ethics, scholastic political philosophy, theories of princely and republican government in Italy and northern European political thought. Each text is supplied with an introduction and a guide to further reading. (shrink)

On November 11 and 12, 2011, a symposium held at the University of North Carolina in Chapel Hill honored John M. Headley, Emeritus Professor of History. The organizers, Professor MelissaBullard—Headley’s colleague in the department of history at that university—along with ProfessorsPaul Grendler (University of Toronto) and James Weiss (Boston College), as well as Nancy GraySchoonmaker, coordinator of the Program in Medieval and Early Modern Studies—assembled presenters, respondents, and dozens of other participants from Western Europe and North America to celebrate the (...) career of their prolific, versatile, and influential colleague whose publications challenged and often changed the ways scholars think about Martin Luther, Thomas More, the Habsburg empire,early modern Catholicism, globalization, and multiculturalism.This special issue contains the major papers delivered at the symposium, revised to take account of colleagues’ suggestions at the conference and thereafter.^John O’Malley studies the censorship ofsacred art with special reference to Michelangelo’s famed “Last Judgment” and the Council of Trent.John Martin sifts Montaigne’s skepticism about contemporaneous strategies for self-disclosure andself-discipline. Stressing the significance of grammar, Constantin Fasolt helps us recapture theRenaissance’s and the early modern religious reformations’ disagreements with antiquity. RonaldWitt’s reappraisal of humanist historiography probes Petrarch’s perspectives on ancient Rome. JohnMcManamon includes tales of theft and market manipulation in his study of the early moderncollection and circulation of books and manuscripts, the commodification of study. To “nuance” John Headley’s conclusions about “the Europeanization of the world,” Jerry Bentley repossesses the influence of other than European societies on several European theorists of human rights.^Kate Lowe’s remarks on the reconstruction of race in the Renaissance explores the effects of a critical mistranslation on what being black was taken to mean by Europeans. David Gilmartin introduces readers to the shape of democracy in nineteenth- and twentieth-century India, as well as to the understandings of popular sovereignty that affected elections, suggesting strides that scholars might take “toward a worldwide history of voting”.The remarkable range of these contributions comes close to reflecting the range of ProfessorHeadley’s interests and achievements, which James M. Weiss maps in his tribute, identifying“unifying themes” in Headley’s work. (shrink)

The rediscovery of the ancient conception of criticism by the great humanist authors triggered an intellectual revolution that renewed the traditional liberal arts. This reference work analyzes the evolution of scholarly reflection in Europe in the second half of the sixteenth century.

The aesthetic and spiritual problems of a heritage of F. Dostoevsky in connection with the perception of his works in Russian culture of beginning of XXth century are considered in the article. N. Berdjaev’s estimation of value of Dostoevsky’s works for Russian Renaissance, when was active discussions the problems of the humanism and further development of the literature and culture, is given in the work. The author has paid attention to Dostoevsky’s activity in search of new opportunities of the (...) literature for the direct image of a human ideal. The remarkable examples of such works were found by the writer in art of the European Renaissance. The opinion that humanism of Renaissance was formed by special type of the self-made man of art and spirit on the basis of the Renaissance myth of person is supported in the article. The author established a connection with humanistic ideas and aesthetic searches of Dostoevsky, Renaissance and Russian Renaissance of beginning of XXth century through the interpretation of a category ‘the Renaissance myth of man‘. In Russian culture Dostoevsky can be estimated as the type of the artist corresponding late European Renaissance Typological aspects of a human myth in F. Dostoevsky’s prose can explain fixed attention to his works in beginning of XXth century. Constant and deep interest for a person and spiritual life ensured the high degree and important features of influence of his works on formation of views of Russian Renaissance on art, art creativity and understanding of the world and the person in terms of tragical humanism. As a result, Dostoevsky’s creative heritage with his humanistic myth of the Renaissance type became the important part of art and Russian spiritual culture of beginning of XXth century. (shrink)

The chapters of this book discuss in differing ways the transition in the second millennium of the Common Era from the Renaissance, through Enlightenment and subsequently, Romanticism, with a focus in Europe and the Pacific from the fifteenth to the nineteenth centuries. The book highlights salient features of each movement, using examples from the lives and works of critical exponents of each artists, poets, playwrights, philosophers, engineers, navigators, and explorers. The aim has been to impart knowledge of each period, (...) describe characteristics of the way in which the three movements transitioned from one to another through a particular thematic or topical focus, and outline central terms and concepts pertaining to them. In doing so, it is clear that the period of European and Pacific history that spanned the fifteenth to nineteenth centuries brought tremendous change on the human psyche and saw unprecedented development of industry, culture, arts, science and a flowering of the human imagination as well as a strengthening of the human capacity for reason. The Renaissance, and the transition between Enlightenment and Romanticism was indeed, a 'first-light' after the long dark ages in Europe, America and the Pacific West; it provided the impetus for the forces of change that impel progress in the present day. To make 'observations' of key figures and texts at various stages and events of the half-millennia in focus is also to reveal the perplexing change, society and human understanding of it was undergoing and to explore critical ideas and inventions of art and science that shaped the modern world. (shrink)