Susanna Berger
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780691172279
- eISBN:
- 9781400885121
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691172279.003.0001
- Subject:
- Art, Art History
This chapter explores the ways in which visual representations both succeeded and failed as instruments of knowledge. It opens with an account of a dissertation about methods of learning with ...
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This chapter explores the ways in which visual representations both succeeded and failed as instruments of knowledge. It opens with an account of a dissertation about methods of learning with mnemonic printed images that appeared in a revised edition in 1731 and was authored by Siegmund Jacob Apin (1693–1732). The first part of this treatise refers to key pedagogical visual representations of the sixteenth and seventeenth centuries, including the works of Jan Amos Comenius (1592–1670), Johannes Buno (1617–1697), Andreas Vesalius (1514–1564), and Leonard Fuchs (1501–1566). Among the philosophical prints discussed by Apin are the illustrated thesis prints of Meurisse, Chéron, and Gaultier. In the second part of the dissertation, Apin presents criticisms of mnemonic images. Apin's dissertation allows us to appreciate both the early modern interest in epistemological visual representations and some of the reasons for the demise of the philosophical plural image over the course of the 1700s.Less
This chapter explores the ways in which visual representations both succeeded and failed as instruments of knowledge. It opens with an account of a dissertation about methods of learning with mnemonic printed images that appeared in a revised edition in 1731 and was authored by Siegmund Jacob Apin (1693–1732). The first part of this treatise refers to key pedagogical visual representations of the sixteenth and seventeenth centuries, including the works of Jan Amos Comenius (1592–1670), Johannes Buno (1617–1697), Andreas Vesalius (1514–1564), and Leonard Fuchs (1501–1566). Among the philosophical prints discussed by Apin are the illustrated thesis prints of Meurisse, Chéron, and Gaultier. In the second part of the dissertation, Apin presents criticisms of mnemonic images. Apin's dissertation allows us to appreciate both the early modern interest in epistemological visual representations and some of the reasons for the demise of the philosophical plural image over the course of the 1700s.
