I am delighted to say that I will be joining the new Thales College, as a professor of humanities. What that means, I shall try to describe by way of contrast.
Let us suppose I am at almost any other American or Canadian college. I am considering Caravaggio’s painting of Mary Magdalen. Right there, I’m skating on thin ice. That isn’t just because the painting has a religious theme. It’s because I can depend upon almost nothing, among even the brightest college students, when it comes to knowledge of the history of art, or of the Renaissance in particular; no understanding of why such a painting was impossible to be executed two centuries before, or of why no one would have conceived the desire to paint such a figure, alone as she is, in a moment of intense introspection, careless of the baubles of her trade that lie scattered about her on the floor — baubles that yet have considerable dramatic power, because Caravaggio supposes that we know, as she does not, what they signify, and what momentous events are in store for her.
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