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page054from Building IdeasThis notion of the artist having access to divine harmony became a powerful notion for later thinking in aesthetics. Besides the question of the status of art as a “unique” form of knowledge – the issue of whether philosophy could ever replace aesthetic experience – it is here also where the later debate between the Classical and the Romantic has its roots, in the arguments over the role of the artist. In the Classical tradition the artist is constrained by historical precedent, which acts as a repository of the timeless ideals forms. Romanticism, on the other hand, holds the creative individual to be supreme, with the artist as a “genius” inventing freely from within. Of course, within both traditions art many still be seen as subservient to rationality, and it is this question which forms the background to the debates going on the aesthetics today. Before addressing these more contemporary issues and their implications for the theory of architecture, there are two other contribution from the history of aesthetics which should be briefly considered. The first is from the Renaissance and the revival of Classical ideas and the second happens in the eighteenth century and provides the background to the rise of Romanticism.
The Renaissance is so called due to the rebirth of Classical ideas, whose influence spread rapidly thanks in part to the new technique of printed text from moveable type.5 After Gutenberg’s famous Bible appeared in 1456, a proliferation of printed books appeared during the following hundred years. In addition to the new editions of Vitruvius’ ten books on architecture written originally at the height of the Roman Empire, in the first century AD, the writings of the ancient philosophers were also subjected to reinterpretation. In both instances an aesthetic doctrine was developed around the notion of a universal harmony and in both the definition of beauty was based on intellectual rather than physical qualities. This was evident in the commentary on Plato’s Symposium written by Marsilio Ficino in 1475,although it was in a letter to his friend Cavalcanti that Ficino best sums up the basic principles of the period’s Platonic preoccupations: 5 In fact moveable type had been used in China since the eleventh century AD. See George Basalla, The Evolution of Technology, Cambridge University Press, Cambridge, 1988, p 169-95
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