Drawing on remarks scattered through his writings, I argue that Leibniz has a highly distinctive and interesting theory of color. The central feature of the theory is the way in which it combines a nuanced subjectivism about color with a reductive approach of a sort usually associated with objectivist theories of color. After reconstructing Leibniz's theory and calling attention to some of its most notable attractions, I turn to the apparent incompatibility of its subjective and reductive components. I argue that (...) this apparent tension vanishes in light of his rejection of a widely accepted doctrine concerning the nature of bodies and their geometrical qualities. (shrink)

A key question in the art debate in the eighteenth and nineteenth centuries was whether color should be used for sculpture. Recent archaeological research had shown that the sculpture in ancient Greece was polychrome, but skepticism about applying paint to one’s own work was widespread among modern sculptors. Some scholars explain this reluctance as a consequence of racial prejudice: the Greek athlete was an image of white Europeans. This article will try to show that a re-reading of Johann Gottfried Herder’s (...) book on sculpture can give us a different and more probable explanation. Herder shared Roger de Piles’s view that the essence of sculpture was form, while color was most characteristic of painting. What set Herder apart from his predecessor, however, was his attempt to give the theory a scientific rationale. He found this in contemporary accounts of visually impaired persons’ relationship to the sensory world and not least in empiricist philosophy’s distinction between primary and secondary sensory properties. (shrink)

Although the theological elements of Robert Boyle’s mechanical philosophy have received careful scrutiny, his reflections on economic issues have largely been overlooked. This article takes a small step towards redressing this state of affairs. Rather than argue that Boyle – like John Locke or David Hume – was as interested in political economy as he was in discovering the nature of Nature, the article treats him as a point of entry for considering how early-modern England negotiated the revolutionary cultural and (...) economic changes that emerged as capitalism took command. More specifically, it uses one of Boyle’s less-famous inventions – a hydrostatic device for discriminating between real, degraded and counterfeit coinage – in order to explore how economic exchange began to acquire a patina of ‘objectivity’ in the 17th-century imagination. (shrink)

Although the importance, both historically and systematically, of the seventeenth century distinction between primary and secondary qualities is commonly recognised, there is no consensus on its exact nature. Apparently, one of the main difficulties in its interpretation is to tell the constitutive from the argumentative elements. In this paper, we focus on the primary-secondary quality distinctions drawn by Boyle and Locke. We criticise, more specifically, MacIntosh’s analysis of them. On the one hand, MacIntosh attributes too many different primary-secondary quality distinctions (...) to Boyle and Locke. On the other hand, he forbears to attribute a particular primary-secondary quality distinction to them, which, at least in the case of Boyle, differs genuinely from his main distinction between the mechanical affections of matter and all of matter’s other qualities. (shrink)