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Macro- and Microphilosophy
Art historians even nowadays still talk about a “Morellian method.” Let us see of what this method consisted. Museums, Morelli said, are full of paintings whose authorship has been attributed inaccurately. But to restore each painting to its real author is a difficult task: often these works are not signed, have been re-painted or are in bad condition. In such a situation it is indispensable to be able to distinguish between originals and copies. But to do this, Morelli said, one should not work (as is usually done) on the basis of the most striking features of paintings, which for this very reason are the easiest to imitate: the lifted-to-heaven eyes of Perugino’s figures, the smile of Leonardo’s, and so on. One should rather examine the most negligible details, those least influenced by the characteristics of the school the painter belongs to: the lobes of the ears, the fingernails, the shape of the fingers and toes. In this manner Morelli discovered, and painstakingly cataloged, the shape of ears typical of Botticelli, that of Cosmé Tura, and so on: these traits were present in originals, but not in copies.
Carlo Ginzburg, “Clues: Roots of a Scientific Paradigm” (1979)

In the essay from which this passage is taken, Carlo Ginzburg lays out the theoretical underpinnings of what has come to be called, and largely thanks to Ginzburg’s efforts, microhistory. In particular, Ginzburg adopts what he calls a “semiotic paradigm” (284). As with the Morellian method described above, what this semiotic approach involves is a “deciphering of signs” (281). The earlobes as painted by Botticelli, the clues left behind at a crime scene, or the symptoms a patient presents to their doctor, each are a sign for something else, and something that is the real target of the investigation—determining whether the painting is an original or a forgery, identifying the criminal, or diagnosing the illness. In the context of doing history, Ginzburg has adopted a similar approach. In his book The Cheese and the Worms, for instance, Ginzburg takes up the heresy trial of a 16th century miller, Menocchio. As Ginzburg later describes the perspective one could take of this project, as one that “could have been a simple footnote in a hypothetical monograph on the Protestant Reformation in the Friuli,” and a footnote that Ginzburg transformed into a book” (Ginzburg 2012: 203). Now this footnote, or the “negligible details” of a simple 16th century miller could be taken, on the semiotic paradigm Ginzburg adopts, to be a sign for something else, and in this case the religious beliefs of peasants of the Friuli region. This approach to history has come to be called microhistory.
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