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Perrault’s text is concerned with the important seventeenth‐century debate on the relative eminence of the Ancients and the Moderns, in science, art and philosophy. Because of its centrality to seventeenth‐century art theory, an extensive selection can be found in Art in Theory 1648–1815 IA7 (pp. 53–62). However, a short passage also bears upon the concerns of the present anthology. Almost in passing it gives early articulation to a view of the art of China (and, by implication, anywhere else outside the orbit of the academic tradition) which became the European default position for at least the next two hundred years. Perrault’s protagonist in his staged debate believes that art has progressed. The sixteenth‐century High Renaissance art of Raphael and Titian sets the standard. He acknowledges that ‘some years before’, a skilful art had existed. Because of his emphasis on observed detail, it is probable that he is referring to Northern Renaissance masters such as Van Eyck in the late fifteenth century. His clinching point is that the Chinese too have such an art. But whereas European art has progressed, Chinese art has not. It lacks the wider attributes of the academic canon, particularly shading (‘chiaroscuro’) and perspective, to give the illusion of three‐dimensions on a flat surface and a coherent unified composition building to a visual climax. At a stroke, the position is established that other arts are not merely different from but deficient with respect to post‐Renaissance Western art. The passage comes from the ‘Second Dialogue on the Three Visual Arts’ of Perrault’s Parallel of the Ancients and Moderns, published in 1688. It can be found in Art in Theory 1648–1815, IA7, p. 57. The text was translated for Art in Theory by Chris Miller.

Some years before Raphael and Titian, there were paintings made – they still survive – the principal beauty of which lies in the fineness of line; you can count every hair in the beard and on the head of each figure. Though Chinese art is very ancient, they have remained at this stage. They will, perhaps, soon learn to draw properly, to place their figures in noble attitudes, and attain exact expressions of all the passions. But it will be a long time before they attain a perfect understanding of chiaroscuro, the degradation of light, the secrets of perspective and the judicious organization of a large composition.