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Dictionary of the History of Ideas

Studies of Selected Pivotal Ideas
  
  
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BIBLIOGRAPHY

The most important though indirect contribution to the
history of the classification of the arts is: P. O. Kristeller,
“The Modern System of the Arts: A Study in the History
of Aesthetics,” Journal of the History of Ideas, 12, 4 (1951),
496-527, and 13, 1 (1952), 17-46. W. Tatarkiewicz dealt
with the subject in The History of Aesthetics, 3 vols. (Polish
ed., Wroclaw, 1960-67; English ed., The Hague, 1970);
idem, “Art and Poetry, a Contribution to the History of
Ancient Aesthetics,” Studia Philosophica, 2 (1939); idem,
“Classification of the Arts in Antiquity,” Journal of the
History of Ideas,
24, 2 (1963), 231-40.

Classical and medieval sources are: Radulphus Ardens,
in M. Grabmann, Geschichte der scholastischen Methode,
(1909), 1, 254. Aristotle, Poetics, passim, and Physica, 199a


462

15. Bekker, Anecdota Graeca, II, 654 (670). Cicero, De
oratore,
III, 7, 26. Galen, Protrepticus, 14, (Marquardt, 129).
Isocrates, Panegiricus, 40. Plato, Republic, 601D; Sophist,
219A, 235D. Plotinus, Enneads, IV, 4, 31; V, 9, 11. Quin-
tilian, Institutio oratoria, II, 18, 1. Hugh of Saint Victor,
Didascalicon, II, in Migne, 176, cols. 751, 760. Seneca,
Epistolae, 88, 21.

References for modern classification of the arts: C. Bat-
teux, Les beaux arts réduits à un seul principe (1747). F.
Blondel, Cours d'architecture (1675), pp. 169, 783. G. P.
Capriano, De vera poetica (1555). L. Castelvetro, Poetica
d'Aristotele vulgarizzata
(1570); Correzione d'alcune cose del
dialogo della lingua de B. Varchi
(1572), p. 72. V. Danti,
Trattato della perfetta proporzione, (1567), in P. Barocchi,
Trattati d'arte del Cinquecento, Vol. 1 (Bari, 1960).
D'Alembert, Oeuvres (1853), p. 99. M. Dessoir, Ästhetik und
allgemeine Kunstwissenschaft
(Stuttgart, 1906). M. Ficino,
Commentarium in Convivium (1561). J. W. Goethe, review
of Sulzer's paper, Werke, (Weimar, 1896), 37, 206. J. Harris,
Three Treatises (1744), p. 25. G. W. F. Hegel, “Vorlesungen
über die Ästhetik,” Heidelberg Lectures, 1818-29 (East
Berlin, 1955). J. Hippisley, The Polite Arts or a Dissertation
on Poetry, Painting, Musick, Architecture, and Eloquence

(London, 1749), Ch. 2. I. Kant, Kritik der Urteilskraft (1790),
p. 51. G. Manetti, De dignitate et excellentia hominis, (1532),
3, 131. M. Mendelssohn, Betrachtungen über die Quellen
der schönen Künste und Wissenschaften
(1757). F. Menes-
trier, Philosophie des images (1683). A. Poliziano, Panepiste-
mon
(1491). J. G. Sulzer, Allgemeine Theorie der schönen
Künste
(1771, 1774). E. Tesauro, Canocchiale aristotelico
(1655), p. 74. B. Varchi, Della maggioranza delle Arti (1549),
reprinted in P. Barocchi, Trattati d'arte del Cinquecento, Vol.
1 (Bari, 1960). C. Vasari, Le vite, ed. G. Milanesi (Florence,
1878, 1906), 1, 168. G. B. Vico, Scienza nuova (1744), p.
25. B. Weinberg, A History of Literary Criticism in the
Italian Renaissance
(Chicago, 1961), contains important
references on the sixteenth century.

W. TATARKIEWICZ

[See also Classicism in Literature; Classification of the
Sciences;
Education; Mimesis; Music and Science; Music
as a Divine Art; Naturalism in Art; Platonism; Renaissance
Humanism; Rhetoric; Style; Ut pictura poesis.]