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Universal analogy as a principle which underlies a variety of intellectual sciences in the Middle Ages and the Renaissance has been a topic for students of this period for a long time and in a variety of ways. The doctrine of correspondences, the levels of allegory, the art of memory, Neo-Platonism, the metaphysical conceit, the political theology of king and state, alchemy, astrology, and hermeticism all, in one way or another, reveal the endemic characteristics of asserting and explaining a symbolic and harmonious relationship which prevails among many things. The consequences of this phenomenon seem to be limitless, both for the culture in question and for those who choose to give some account of it.
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- Copyright © 1968 Fédération Internationale des Sociétés de Philosophie / International Federation of Philosophical Societies (FISP)
References
1 E.H. Kantorowicz, in "The Sovereignty of the Artist: A Note on Legal Maxims and Renaissance Theories of Art," included in De Artibus Opuscula XL: Essays in Honor of Erwin Panofsky, ed. Millard Meiss (New York, 1961), p. 276, quotes this definition from the Glossa ordinaria to the Decretals. For additional references to the technique of equiparation by the same author, see: "Mysteries of State: An Absolutist Concept and its Late Medieval Origins," The Harvard Theological Review, 48 (1955), 81; "Kingship Under the Impact of Scientific Jurisprudence," in Twelfth-Century Europe and the Foundations of Modern Society, edd. M. Clagett, G. Post, R. Reynolds (Madison, Wisc., 1961), p. 92; and The King's Two Bodies: A Study in Medieval Political Theology (Princeton, 1957), pp. 49, 52. Although seldom so called, the theme of equiparation runs through virtually the whole body of Kantorowicz' work.
2 Kantorowicz, "The Sovereignty of the Artist," in De Artibus, ed. Millard Meiss (New York, 1961), p. 276.
3 "Medieval statecraft and political theory vacillated between two extreme solutions to the Imitatio Christi: priest-kingship, and royal priesthood. Neither was a true solution, and the problem by its very nature could not be solved in the political sphere at all. The history of the mediaeval state is, to a great extent, the history of the inter-changes between royal and sacerdotal offices, of the mutual exchange of symbols and claims. To the extent that the idea of kingship became sacerdotal, priesthood became regal." E. H. Kantorowicz, Laudes Regiae: A Study of Liturgical Acclamations and Mediaeval Ruler Worship. University of California Publications in History, XXXIII (Berkeley and Los Angeles, 1946), p. 112. See also, "Mysteries of State," The Harvard Theological Review, 48 (1955), 65-6.
4 "…The sacred character of the empire, and of the emperor himself, no longer drew its strength from the idea of the christus domini, from the altar, or from the Church, but it was a secular sacredness sui iuris and sui generis apart from the Church, a concept which eventually found its most eloquent interpreter in Dante and his vision of two Paradises, one imperial-terrestrial and the other ecclesiastical-celestial." E. H. Kantorowicz, "Kingship under the Impact of Scientific Jurisprudence," in Twelfth Century Europe, edd. G. Post, et. al. (Madi son, 1961), p. 101.
5 In "The Sovereignty of the Artist," in De Artibus Opuscula, ed. Millard Meiss (New York, 1961), pp. 267-79.
6 Elizabethan Critical Essays, ed. G.G. Smith (London, 1904), Vol. I, p. 187.
7 This phrase is used by Edgar Wind in the related Neoplatonic context of love as a principle of universal relationships. Pagan Mysteries in the Renaissance (London, 1958), p. 41.
8 Elizabethan and Metaphysical Imagery (Chicago, 1961), p. 100.
9 E. H. Kantorowicz, "The Sovereignty of the Artist," in De Artistibus Opuscula, ed. Millard Meiss (New York, 1961), p. 277.
10 Critical Essays of the Seventeenth Century, ed. Joel E. Spingarn (Oxford, 1908), Vol. I, p. 5.