During the Gothic period, the classical aesthetical canon of beauty was rejected as sinful. Later, Renaissance and Humanist thinkers rejected this view, and regarded beauty to be the product of rational order and harmonious proportions. Renaissance artists and architects (such as Giorgio Vasari in his “Lives of Artists”) criticised the Gothic interval as irrational and barbarian. This point of view of Gothic artwork lasted until Romanticism, in the nineteenth century. Vasari aligned himself to the classical notion and considered beauty as defined as arising from proportion and order. In the work, the excessive priestess Diotima describes how beauty strikes out from a core singular appreciation of the body to outer appreciations by way of loved ones, to the world in its state of tradition and society .

• Coupled with a culture of extreme consumption, the result’s an enormous quantity of waste—everything from bottles and pumps to clear wrap and bubble

During the Gothic period, the classical aesthetical canon of beauty was rejected as sinful. Later, Renaissance and Humanist thinkers rejected this view, and regarded beauty to be the product of rational order and harmonious proportions. Renaissance artists and architects (such as Giorgio Vasari in his “Lives of Artists”) criticised the Gothic interval as irrational and barbarian. This point of view of Gothic artwork lasted until Romanticism, in the nineteenth century. Vasari aligned himself to the classical notion and considered beauty as defined as arising from proportion and order. In the work, the excessive priestess Diotima describes how beauty strikes out from a core singular appreciation of the body to outer appreciations by way of loved ones, to the world in its state of tradition and society .

• Coupled with a culture of extreme consumption, the result’s an enormous quantity of waste—everything from bottles and pumps to clear wrap and bubble