This article discusses Archibald Campbell’s (1691-1756) early writings on religion, and the reactions they provoked from conservative orthodox Presbyterians. Purportedly against the Deist Matthew Tindal, Campbell crucially argued for two claims, namely (i) for the reality of immutable moral laws of nature, and (ii) for the incapacity of natural reason, or the light of nature, to discover the fundamental truths of religion, in particular the existence and perfections of God, and the immortality of the soul. In an episode that had (...) its peak in 1735 and 1736, a Committee for Purity of Doctrine of the Church of Scotland scrutinised Campbell’s writings. It attacked the second claim as contradicting Calvinist doctrines concerning the universal guilt of mankind after the Fall, and the first claim as contradicting doctrines concerning justification and salvation, and as supporting Deism. The study of this episode reveals new aspects of how the struggle to define orthodoxy crystallised in philosophical and theological debates in Scotland at the dawn of the Enlightenment, and before the rise of the Moderates. (shrink)

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a significance of a much deeper kind. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist (...) tradition founded on the pursuit of a transcendent world of nobility, harmony and beauty—an ideal world outside of which, as Malraux writes, ‘man did not fully merit the name man’. Following the illness that left him deaf for life—an encounter with ‘the irremediable’, to borrow Malraux's term—Goya developed an art of a fundamentally different kind—an art, Malraux writes, ruled by ‘the unity of the prison house’, which replaced transcendence with a pervasive ‘feeling of dependence’ and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, and created semi-clandestinely, the etchings and black paintings are an early announcement of the death of beauty in Western art. (shrink)