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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 artwork has thus far been studied from a basically aesthetic perspective. the reason for this can be discovered, I supply no opinion on it, within the conceptions of the authors who've been publishing in this over the last seventy-five years or within the indisputable fact that so much medieval texts that until eventually lately have been on hand in versions, have been for the larger half works of a theological, mystical or 1 encyclopaedic-theoretical style. anyways, it's an estab lished indisputable fact that those reviews have been dropped at undergo at the texts of a constrained variety of recognized medieval writers, comparable 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 equivalent 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, 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 heritage of paintings historic 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 paintings, vol.

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