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This article argues that Nicholas of Cusa, in contrast to the scholastic tradition and in consensus with the humanists of his time, develops a high esteem for Artes Me chanicae, placing it on an equal level with Artes Liberales. A close reading of the relevant passages in Cusa’s work reveals that although his early philosophical writings present the old scholastic position, in the Idiota-writings (1450), he shifts his stance toward the Artes Mechanicae and significantly elevates it. Influenced by his encounter with the Italian humanists in Rome, he maintains this approach throughout his late works and late sermons. This positive reweighting of Artes Mechanicae is consistent with Cusanus’ view of the immanence of God and leads him to revaluate his world view.
Nicholas of Cusa's treatise 'De visione Dei' aims to introduce the reader to the practice of mystical experience. The treatise is usually interpreted from the beginning of the work. The experiments with the all-seeing eicona dei form the framework. The thesis of this article is that the entire content of Cusa's treatise can only be understood if one considers the book as a whole and reflects on its composition. The main point is that the author, Cardinal and Bishop of Brixen, Cusanus, carried out this practice alone in his own room in the bishop's residence and that the content of this work was written as a record of this practice. Thus, the performativity of the atmosphere proves to be decisive for the content of the text.
