In this work C. A. Patrides examines the Renaissance vision of a comely method and proportion" throughout the universe, whether in the vertical arrangement of the created order "from the Mushrome to the Angels" or the horizontal progress of history along a linear path from the Creation to the Last Judgment. Originally published in 1982. 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.

Essays on many of the most important literary figures of the 16th and 17th centuries

The Ideas of Man and Woman in Renaissance France provides the first comprehensive comparison of the printed debates in the 1500s over the superiority or inferiority of woman - the Querelle des femmes - and the dignity and misery of man. Analysing these writings side by side, Lyndan Warner reveals the extent to which Renaissance authors borrowed commonplaces from both traditions as they praised or blamed man or woman and habitually considered opposite and contrary points of view. In the law courts reflections on the virtues and vices of man and woman had a practical application-to win cases-and as Warner demonstrates, Parisian lawyers employed this developing rhetoric in family disputes over inheritance and marriage, and amplified it in the published versions of their pleadings. Tracing these ideas and modes of thinking from the writer's quill to the workshops and boutiques of printers and booksellers, Warner uses probate inventories to follow the books to the households of their potential male and female readers. Warner reveals the shifts in printed discussions of human nature from the 1500s to the early 1600s and shows how booksellers adapted the ways they marketed and sold new genres such as essays and lawyers' pleadings.

This book on the reception of Cartesianism in the Netherlands provides a detailed analysis of the arguments of Gisbertus Voetius (1589-1676) against the "New Philosophy" of Rene Descartes and explains Voetius' standpoint as an attempt to secure the philosophical basis for theology especially as regards God's government of the physical Universe.

Challenging account of religious controversy between Catholic and Protestant before the Civil War.

Shakespeare wrote of lions, shrews, horned toads, curs, mastifss, and hell-hounds. But he used the word 'animal' only eight times in his work - which was typical for the 16th century, when the word was rarely used. As Laurie Shannon reveals in this book, the animal-human divide first came strongly into play in the 17th century, with Descartes's famous formulation that reason sets humans above other species: 'I think, therefore I am'.

Based on a close study of Van Dyck's Self-portrait with a Sunflower, this book examines the picture's context in the symbolic discourses of the period and in the artist's oeuvre. The portrait is interpreted as a programmatic statement, made in the ambience of the Caroline court after Van Dyck's appointment as 'Principal Painter', of his view of the art of painting. This statement, formulated in appropriately visual terms, characterizes painting as a way of looking and seeing, a mode of vision. In making such a claim, the artist steps aside from the familiar debate about whether painting was a manual or an intellectual discipline, and moves beyond any idea of it as simply a means of representing the external world: the painter's definitive faculty of vision can reach further than those realities which present themselves to the eye. John Peacock analyses the motif of looking - the ways in which figures regard or disregard each other - throughout Van Dyck's work, and the images of the sunflower and the gold chain in this particular portrait, to reveal what is essentially an idealist conception of pictorial art. He contradicts previous opinions that the artist was pedestrian in his thinking, by showing him to be familiar with a range of ideas current in contemporary Europe about painting and the role of the painter.