Paintings and their implicit presuppositions: High Renaissance and Mannerism

All art historians who are interested in questions of "styles" or "schools" agree in identifying a High Renaissance school of Italian painting. There is, however, a disagreement, which has seemed nonterminating, regarding Mannerism: Is it another distinct school or is it merely a late development of the Renaissance school? We believe that this disagreement can be terminated by distinguishing questions of fact about paintings from questions about the definitions of schools. To this end we have had two representative subsets of paintings--one earlier, one later--rated on four of the dimensions of implicit presuppositions that we have introduced in other Working Papers. When the paintings are scaled in this way a very distinct profile emerges for the earlier, or Renaissance, paintings. In contrast, the later, or Mannerist, paintings are so heterogeneous that we conclude that they are best described as deviations from the Renaissance profile, rather than a separate school. These results are not unimportant--at least for art historians. But they are more important methodologically inasmuch as the procedures applied here can be used in classifying and distinguishing from one another all kind of cultural products.