The modern sciences are divided into two groups: law-formulating and natural historical sciences. Sciences of both groups aim at describing the world, but they do so differently. Whereas the natural historical sciences produce “transcriptions” intended to be literally true of actual occurrences, laws of nature are expressive symbols of aspects of the world. The relationship between laws and the world thus resembles that between the symbols of classical iconography and the objects for which they stand. The natural historical approach was (...) founded by Aristotle and is retained in such present-day sciences as botany. Modern physics differentiated itself from the natural historical sciences and developed a symbolizing approach at the hands of Galileo and Descartes. Our knowledge of the physical domain is provided by two disciplines: the law-formulating science of physics and a natural historical science on which we depend in the everyday manipulation of our surroundings. (shrink)

The individual soul is an ageless idea, attested in prehistoric times by the oral traditions of all cultures. But as far as we know, it enters history in ancient Egypt. I will begin with the individual soul in ancient Egypt, then recount the birth of the world soul in the Pythagorean community of ancient Greece, and trace it through the Western Esoteric Tradition until its demise in Kepler's writings, along with the rise of modern science, around 1600 CE. Then I (...) tell of the rebirth of the world soul recently, in new branches of mathematics. (shrink)

The concept of ‘the image’ can be given historical, conceptual, aesthetic and moral specifications. This essay sets out some of the scholarly issues in the dense semantic field of ‘the image’. In particular, the essay considers how the meaning of the image is often determined in relation to the opposition between sensible form and intelligible idea. Specific attention is given to Kantian aesthetics, which inaugurates a specific way of understanding the sensible form as a mode of processing moral ideas.

The purpose of this paper is to show the argument-establishing features of a Renaissance altarpiece. Looking to Panofsky’s seminal studies and to more recent contributions, this essay shows how in a special environment like the Florentine pre-Renaissance, people could easily relate to the evocative and contrastive potential of images. In the Santa Lucia de’ Magnoli Altarpiece painted by Domenico Veneziano we see an interesting dialogue between the main piece and the predella panels. This juxtaposition can be formalized into a basic (...) argumentative text. (shrink)