Taking the Pencil out of God's Hand: Art, Nature, and the Face-Painting Debate in Early Modern England

PMLA ◽  
1993 ◽  
Vol 108 (2) ◽  
pp. 224 ◽  
Author(s):  
Frances E. Dolan
1989 ◽  
Vol 19 (3) ◽  
pp. 569-572 ◽  
Author(s):  
Richard Neugebauer

SynopsisIn June 1637 William Harvey petitioned the Court of Wards and Liveries, a legal incompetency court in early modern England, for a grant of the custody of his mentally disabled nephew, William Fowke. ‘Idiocy’ and ‘lunacy’ were the two medico-legal categories for insanity used by the Court and Harvey requested that his nephew be inspected for idiocy. However, the legal and administrative history of the Court indicates that in the 1630s idiocy (but not lunacy) grants were prejudicial to the assets and economic security of retarded persons. Since petitioners' wishes, more than clinical status, usually determined the diagnostic label assigned to referred individuals, idiocy grants were not sought by persons of some social standing. Harvey's idiocy referral probably reflects his allegiance to his own clinical observations in the face of opposing social norms and family advantage.


2013 ◽  
Vol 56 (1) ◽  
pp. 31-53 ◽  
Author(s):  
MARK S. DAWSON

ABSTRACTProcesses for the identification of criminal suspects tell us a great deal about wider cultural assumptions and social prejudices regarding somatic difference; its causes, relative degree, and consequence. If early modern Europeans had something approaching a forensic science, it was astrology, which has recently garnered renewed attention from historians of ideas. Rather than assume astrology's seventeenth-century decline in the face of revolutionary natural philosophy, what follows suggests that English astrology remained significant for mundane bodily discrimination, in the context of both a more deliberate, gradual reform and the tenacity of centuries-old humoral physiology. More importantly, scrutiny of astrological practice, and the logic underpinning its lasting currency, can reveal much about the significance of bodily contrasts and the meanings ascribed to them by Tudor-Stuart folk.


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