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By E.F. van der Grinten, D. Aalders

The angle of medieval males of letters in the direction of plastic arts, structure and utilized paintings has to this point been studied from a essentially aesthetic viewpoint. the reason for this can be chanced on, I supply no opinion on it, within the conceptions of the authors who've been publishing in this over the past seventy-five years or within the incontrovertible fact that such a lot medieval texts that until eventually lately have been to be had in variations, have been for the higher half works of a theological, mystical or 1 encyclopaedic-theoretical style. in any case, it truly is an estab lished proven fact that those stories have been dropped at undergo at the texts of a constrained variety of famous medieval writers, resembling: Augustine, Isidore of Sevilla, Strabo, Scotus Erigena, Alcuin, Hugh and Richard of S. Victor, Honore of Autun, Bonaventure, Thomas Aquinas and Vincent of Beauvais. The writings of those authors were released in huge sequence reminiscent of Migne's Patr%gia Latina, the three 1 L. Venturi, Storia della critica d'arte, Turin 1964 (1st ed. Brussels 1938); E. de Bruyne, Etudes d'Esthetique medievale, three vols, Bruges 1946; R. Assunto, l. a. critica d'arte nel pensiero medioevale, Milan 1961; id., Die Theorie des SchOnen im Mittelalter, Cologne 1963; E. F. van der Grinten, Enquiries into the background of artwork old Writing, Amsterdam 1952; L. Grassi, Costruzione della critica d'arte, Rome 1955; C. Barret, "Medieval artwork Criticism," The British magazine of Aesthetics five (1965), 25-36; Encyclopedia of worldwide artwork, vol.

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By E.F. van der Grinten, D. Aalders

The angle of medieval males of letters in the direction of plastic arts, structure and utilized paintings has to this point been studied from a essentially aesthetic viewpoint. the reason for this can be chanced on, I supply no opinion on it, within the conceptions of the authors who've been publishing in this over the past seventy-five years or within the incontrovertible fact that such a lot medieval texts that until eventually lately have been to be had in variations, have been for the higher half works of a theological, mystical or 1 encyclopaedic-theoretical style. in any case, it truly is an estab lished proven fact that those stories have been dropped at undergo at the texts of a constrained variety of famous medieval writers, resembling: Augustine, Isidore of Sevilla, Strabo, Scotus Erigena, Alcuin, Hugh and Richard of S. Victor, Honore of Autun, Bonaventure, Thomas Aquinas and Vincent of Beauvais. The writings of those authors were released in huge sequence reminiscent of Migne's Patr%gia Latina, the three 1 L. Venturi, Storia della critica d'arte, Turin 1964 (1st ed. Brussels 1938); E. de Bruyne, Etudes d'Esthetique medievale, three vols, Bruges 1946; R. Assunto, l. a. critica d'arte nel pensiero medioevale, Milan 1961; id., Die Theorie des SchOnen im Mittelalter, Cologne 1963; E. F. van der Grinten, Enquiries into the background of artwork old Writing, Amsterdam 1952; L. Grassi, Costruzione della critica d'arte, Rome 1955; C. Barret, "Medieval artwork Criticism," The British magazine of Aesthetics five (1965), 25-36; Encyclopedia of worldwide artwork, vol.

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