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Michael Baxandall’s pioneering 1972 study, Painting and Experience in Fifteenth-Century Italy. 2 ‘Visual culture’ is a pertinent phrase for use in this study because it implies a breadth of visual reference that includes the diverse range of types of work with which an early modern artisan might be involved. Painters in this period regularly carried out decorative work, and, as Lucy Gent points out

in Making and unmaking in early modern English drama
Open Access (free)
Invisibility and erasure in The Two Merry Milkmaids

threatening to social and natural order. In contrast to Gyges, however, Corcut’s experience of being unseen while disguised as a shepherd leads him to a spiritual revelation that would have appealed to an early modern Christian audience. Before he is put to death on his brother’s orders, Corcut reveals: Since my vain flight from fair

in Making and unmaking in early modern English drama
Open Access (free)
Behind the screen

culture. 38 As our understanding of the development of early modern English visual culture expands, new opportunities to explore the place of visual discourses in the making of aesthetics ideas also emerge. The intertwining of metatheatrical self-reflection with explorations of processes of ‘making’ suggests to me that more needs to be done to understand historicised aesthetic experience in conjunction

in Making and unmaking in early modern English drama
Divine destruction in Friar Bacon and Friar Bungay

-breaking as a means to spiritual purification via the cleansing erasure of idols. This argument also, importantly, hinges on the suggestion that iconoclasm in Greene’s play sidesteps religious controversy because it is directed against technology, which was associated by many of Greene’s contemporaries with ‘atheism’, rather than against idols in the sense ‘narrowly identified with the Catholic

in Making and unmaking in early modern English drama