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From the dirt jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the considerable proof of lengthy
mutual knowing and correspondence be­
tween the sister alts even though parallels of
theme and idea are ample, be is no longer
primarily involved with those. relatively, he
examines the shut courting or air de fanulle
between the expression of the arts m any given
epoch.
Each epoch has “ its odd handwriting
or handwritings, which, if one might interpret
them, might show a personality, even a physi­
cal visual appeal. ” even though handwriting is
taught and a few of its features hence
belong to the basic sort of the interval, the
personality of the author does now not fail to pierce
through. anything of the comparable variety, the au­
thor proposes, happens in artwork. The kinship of
literature and portray rests on this circum­
stance: a paintings of artwork, even if visible or liter­
ary, needs to use the designated “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside a variety of
periods o f heritage can finally be traced,
then, to structural similarities— similarities
that come up out of the attribute means in
which the humans of a sure epoch see and
memorize evidence aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, for that reason presides over this view
of ihe arts. In illustrating her iniluence. Pro­
fessor Praz levels broadly via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan­
guage and Literature at the collage of
Rome. His previous books contain The Roman­
tic discomfort, stories in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout by way of P J. Conkwright

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