New PDF release: Italian Paintings, Sienese and Central Italian Schools A

By Federico Zeri, Elizabeth G. Gardner

ISBN-10: 0300086229

ISBN-13: 9780300086225

The Museum's Sienese and imperative Italian work are mentioned in alphabetical order by way of artist, with a short biography of every.

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Extra resources for Italian Paintings, Sienese and Central Italian Schools A Catalogue of the Collection of the Metropolitan Museum of Art

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This is an example of how deontology may be too narrow, in that it allows us to do many things, even things with bad consequences, just as long as we avoid directly doing wrong ourselves. In response, consequentialism can be accused of having too wide a scope. Almost everything we do has consequences. For instance, if I buy a jacket which is made in a Third World sweat-shop, my action has bad consequences for workers in the Third World since it supports a bad form of production rather than a benign one.

The introduction of the hypothetical clause doesn't seem convincing. As Isaiah Berlin said, the existence of objects is not hypothetical but categorical. To say something exists is to say it exists, full stop, not that it would exist if perceived. The implausibility of phenomenalism is that it claims categorical talk of public objects is a construct of hypothetical talk about private experience. There may also be a regress in the phenomenalist thesis. If to exist is to be observed, we need an observer.

Consequentialist and deontological approaches both offered very different solutions to the puzzle of what the right thing to do was. Both offered a pretty clear-cut solution. But this might strike us as very odd indeed. After all, what such hypothetical circumstances surely show more than anything is how agonising moral decisions can be. We should therefore be suspicious of any theory which offers a clear-cut, off-the-peg solution to such a dilemma. How might virtue ethics offer a more plausible approach?

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Italian Paintings, Sienese and Central Italian Schools A Catalogue of the Collection of the Metropolitan Museum of Art by Federico Zeri, Elizabeth G. Gardner


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