The Shapes of Knowledge from the Renaissance to the by Donald R. Kelley (auth.), Donald R. Kelley, Richard H.

By Donald R. Kelley (auth.), Donald R. Kelley, Richard H. Popkin (eds.)

The unique suggestion for a convention at the "shapes of information" dates again over ten years to conversations with the overdue Charles Schmitt of the Warburg Institute. What occurred to the classifications of the sciences among the time of the medieval Studium and that of the French Encyclopedie is a posh and hugely summary query; yet posing it truly is a good way of mapping and comparing long-term highbrow alterations, in particular these coming up from the impression of humanist scholarship, the recent technology of the 17th century, and makes an attempt to judge, to use, to reconcile, and to institutionalize those rival and interacting traditions. but such styles and differences can't be good understood from the heights of the final heritage of principles. in the ~eneral framework of the association of data the map has to be stuffed in by means of specific explorations and soundings, and our venture known as for a convention that will mix a few encyclopedic (as good as interdisciplinary and inter­ nationwide) breadth with scholarly and technical depth.

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His descriptions of artistic procedures, to the contrary, suggest the rhetorical color of literary elocutio. That is to say, his scientific methods of observation and theorizing proceed in the opposite direction from his artistic procedures for constructing paintings. It would be an oversimplification of the literary and visual evidence to conclude that Leonardo programmatically associated his procedures with Aristotelian "double procedure"; yet this is in effect a relevant analogue, with resolutio, or analysis, corresponding to the painter's records of scientific observations, and compositio, or synthesis, coressponding to his procedures for constructing the image on the prepared surface of the wall or panel.

This allowed Veronese to effect an infinitely greater range of palette on unified compositional principles. Leonardo's synthesis of the scientific and rhetorical traditions of color is also remarkably coherent but more limited in its range of hues. In his scientific investigations of perspective Leonardo was immediately con- The Classification o/the Visual Arts in the Renaissance 31 cerned with color as the essential object of vision. His descriptions of artistic procedures, to the contrary, suggest the rhetorical color of literary elocutio.

We know that artifacts entered European collections from other parts of the world during this period. The question is, how were human artifacts imported from non-European cultures evaluated in this changing artistic and intellectual climate? The recorded wonders of Mesoamerican architecture and portable artifacts, even humans, that reached Europe during the sixteenth century were classified in a variety of ways, based generally on visual characteristics. Classifications of the arts and categories for judging artistic excellence established during this initial period of extensive global contact are culturally specific and deserve further study from a point of view sufficiently broad enough to take our Western biases into account.

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