Etienne Gilson (1884-1978) was a French philosopher and historian of philosophy, as well as a scholar of medieval philosophy. In 1946 he attained the distinction of being elected an ""Immortal"" (member) of the Academie francaise. He was nominated for the Nobel Prize in Literature in 1959 and 1964. The appearance of Gilson's Metamorphosis of the City of God, which were originally delivered as lectures at the University of Louvain, Belgium, in the Spring of 1952, coincided with the first steps toward what would become the European Union. The appearance of this English translation coincides with the upheaval of Brexit. Gilson traces the various attempts of thinkers through the centuries to describe Europe's soul and delimit its parts. The Scots, Catalonians, Flemings, and probably others may nod in agreement in Gilson's observation on how odd would be a Europe composed of the political entities that existed two and a half centuries ago. Those who think the European Union has lost its soul may not be comforted by the difficulty thinkers have had over the centuries in defining that soul. Indeed the difficulties that have thus far prevented integrating Turkey into the EU confirm Gilson's description of the conundrum involved even in distinguishing Europe's material components. And yet, the endeavor has succeeded, so that the problem of shared ideals remain inescapable. One wonders which of the thinkers in the succession studied by Gilson might grasp assent and illuminate the EU's path.

A classic study of the art of painting and its relationship to reality In this book, Étienne Gilson puts forward a bold interpretation of the kind of reality depicted in paintings and its relation to the natural order. Drawing on insights from the writings of great painters—from Leonardo, Reynolds, and Constable to Mondrian and Klee—Gilson shows how painting is foreign to the order of language and knowledge. Painting, he argues, seeks to add new beings to nature, not to represent those that already exist. For this reason, we must distinguish it from another art, that of picturing, which seeks to produce images of actual or possible beings. Though pictures play an important part in human life, they do not belong in the art of painting. Through this distinction, Gilson sheds new light on the evolution of modern painting. A magisterial work of scholarship by an acclaimed historian of philosophy, Painting and Reality features paintings from both classical and modern schools, and includes extended selections from the writings of Reynolds, Delacroix, Gris, Gill, and Ozenfant.

The best summary of this book is in the author's words from the foreword: "It is the proper aim and scope of the present book to show that the history of philosophy makes philosophical sense, and to define its meaning in regard to the nature of philosophical knowledge itself. For that reason, the various doctrines, as well as the definite parts of these doctrines, which have been taken into account in this volume, should not be considered as arbitrarily selected fragments from some abridged description of the medieval and modern philosophy, but as a series of concrete philosophical experiments especially chosen for their dogmatic significance. Each of them represents a definite attempt to deal with philosophical knowledge according to a certain method, and all of them, taken together, make up a philosophical experience. The fact that all those experiments have yielded the same result will, as I hope, justify the common conclusion... that there is a centuries long experience of what philosophical knowledge is and that such an experience exhibits a remarkable unity."

In this book (a translation of his well-known work L'esprit de la philosophie medievale), Etienne Gilson undertakes the task of defining the spirit of mediaeval philosophy. Gilson asks whether we can form the concept of a Christian philosophy and whether mediaeval philosophy is not its most adequate historical expression. He maintains that the spirit of mediaeval philosophy is the spirit of Christianity penetrating the Greek tradition, working within it, and drawing out of it a certain view of the world that is specifically Christian. To support his hypothesis, Gilson examines mediaeval thought in its nascent state, at that precise point where the Judeo-Christian graft was inserted into the Hellenic tradition. Gilson's demonstration is primarily historical and occasionally theoretical in suggesting how doctrines that satisfied our predecessors for so many centuries may still be found conceivable today.

This is a new release of the original 1940 edition.

Darwin's theory of evolution remains controversial, even though most scientists, philosophers, and even theologians accept it, in some form. The controversy erupts when the theory is used to try to explain everything and to deny the role of a Creator or a purpose to life. It is then that philosophers and theologians cry, "Foul!."

This is a new release of the original 1939 edition.

This is a new release of the original 1931 edition.