By E.F. van der Grinten, D. Aalders
The perspective of medieval males of letters in the direction of plastic arts, structure and utilized paintings has thus far been studied from a basically aesthetic viewpoint. the reason for this can be chanced on, I provide 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 versions, have been for the higher half works of a theological, mystical or 1 encyclopaedic-theoretical sort. in any case, it truly is an estab lished incontrovertible fact that those stories have been dropped at endure at the texts of a restricted variety of recognized medieval writers, corresponding to: 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 have been released in huge sequence comparable to 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, los angeles 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 historical past of paintings ancient Writing, Amsterdam 1952; L. Grassi, Costruzione della critica d'arte, Rome 1955; C. Barret, "Medieval paintings Criticism," The British magazine of Aesthetics five (1965), 25-36; Encyclopedia of worldwide paintings, vol.