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page057from Building IdeasMan is all symmetry
Full of Proportions, one Limme to another, And all to all the world besides: Each Part may call the furthest, Brother: For Head with Foot hath private Amitie, And both with Moones and Tides.8 George Herbert died in 1633, the year that Galileo was tried for heresy by the Church and the same year that Descartes had abandoned his plans for an ambitious treatise entitled The World. The world was, however, rapidly changing, with the rise of the new sciences mentioned in Chapter 1. It was in response to these developments towards the end of the seventeenth century that the philosophy of Plato was once again reassessed. The signs of impending acceleration in the growth of technology, as well as the philosophical trend towards the construction of “systems”, was met in England by opposition from various Neoplatonic philosophers – most notably, in the final decade of the century, by Anthony Ashley Cooper, the third Earl of Shaftesbury. For Shaftesbury, the focus of aesthetic investigation was also directed towards the beauty of nature, particularly the relationship set out in Plato’s philosophy between the true, the beautiful and the good. As he wrote in the first volume of his Characteristics, published originally in 1711: For all beauty is truth. True features make the beauty of a face; and true proportions the beauty of architecture; as true measures that of harmony and music. In poetry, which is all fable, truth still is the perfection.9 While this statement reiterates the Renaissance view of the divine origins of underlying order, Shaftesbury is actually more concerned with the effect of beauty on the mind of the observer. He considers the contemplation of a beautiful object to be creative act in its own right, as the sensibility towards the quality of beauty is being “constructed” 8 Geoge Herbert, ”Man”, quoted in Joseph Rykwert, The Dancing Column: On Order in Arcitecture, MIT Press, Cambridge, MA, 1996, pv . 9 Shaftesbury, Characteristics, quoted in Albert Hofstadter and Richard Kuhns (eds), Philosophies of Art and Beauty, University of Chicago Press, Chicago, 1964, p 241.
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