BIBLIOGRAPHY
Items of major importance are Ralph Cohen, The Art of
Discrimination (Berkeley, 1964); Jean H. Hagstrum, The
Sister Arts (Chicago, 1958); Renssalaer W. Lee, “Ut Pictura
Poesis: The Humanistic Theory of Painting,” Art Bulletin,
22 (1940), 197-269; and Mario Praz, Mnemosyne: The Par-
allel between Literature and the Visual Arts (Princeton,
1970). A full bibliography appears in The Bulletin of
Bibliography (Oct.-Dec. 1971).
Important corrective warnings against easily imagined
parallelisms among the arts are René Wellek and Austin
Warren, “Literature and the Other Arts,” Theory of Litera-
ture (New York, 1949); René Wellek, “The Parallelism
Between Literature and the Arts,” English Institute Annual,
1941 (New York, 1942); and G. Giovannini, “Method in the
Study of Literature in Its Relation to the other Fine Arts,”
Journal of Aesthetics and Art Criticism, 8 (1950), 185-95.
Of particular value for general context are George Boas,
trans., The Hieroglyphics of Horapollo (1505) (New York,
1950) and Paul O. Kristeller, “The Modern System of the
Arts: A Study of the History of Aesthetics,” Journal of the
History of Ideas, 12 (1951), 496-527, 13 (1952), 7-46.
The significance of the emblem books is handled in Robert
J. Clements, Picta Poesis: Literary and Humanistic Theory
in Renaissance Emblem Books (Rome, 1960). The rich area
of ekphrasis calls for more study but the following item is
particularly useful: S. L. Alpers, “Ekphrasis and Aesthetic
Attitudes in Vasari's Lives,” Journal of the Warburg and
Courtauld Institutes, 23 (1960), 190-215.
Various other aspects may be pursued in Chester F.
Chapin, Personification in Eighteenth Century English Po-
etry (New York, 1955); H. H. Frankel, “Poetry and Painting:
Chinese and Western Views of Their Convertibility,” Com-
parative Literature, 9 (1957), 289-307; J. D. Frodsham,
“Landscape Poetry in China and Europe,” Comparative
Literature, 19 (1967), 193-215; Walter John Hipple, Jr., The
Beautiful, The Sublime, and The Picturesque (Carbondale,
1957); Wilton Mason, “Father Castel and His Color
Clavecin,” Journal of Aesthetics and Art Criticism, 17 (1958),
103-16; Mary Ellen Solt, ed., Concrete Poetry: A World View
(Bloomington, Indiana, 1968); Erika von Erhardt-Siebold,
“Harmony of the Senses in English, German, and French
Romanticism,” Publications of the Modern Language Asso-
ciation, 47 (1932), 577-92; and Albert Wellek, “Farben-
musik,” Musik im Geschichte und Gegenwart (Kassel, 1951).
JOHN GRAHAM
[See also China;
Classification of the Arts; Criticism, Liter-
ary; Iconography;
Mimesis; Poetry and Poetics; Taste.]
