Raphael's authorship in the 'Expulsion of Heliodorus.' - interpretation of court painter Raphael's mural

97. On the earlier humanist senses of the term ars - an ancestor of the modern notion of art - see Baxandall (as in n. 33), 15-17.

98. Purgatorio, canto 17, and Paradiso, canto 33. For discussion, see Summers. 120-21.

99. L. Steinberg, The Sexuality of Christ in Renaissance Art and in Modern Oblivion, New York, 1983, 108. Also pertinent are Erwin Panofsky's remarks of 1920: "Thus these formulations [in language by contemporaries], just like the individual theoretical statements of the artists themselves, can once more only be phenomena parallel to the artistic products of the epoch; they cannot already contain their interpretation. . . . Even critical or theoretical statements of a whole period cannot immediately interpret the works of art produced in that period but first have to be interpreted by us together with the work"; Panofsky, "The Concept of Artistic Volition," Critical Inquiry, VII, no. 1, Autumn 1981, 23, 24.

100. Alberti, 1966, 43; idem, 1980, 10, 11.

101. This is also the case with the School of Athens in the Segnatura, although the central opening that frames Plato and Aristotle is not closed at the bottom. Moreover, there are three sky openings in the School of Athens but only one in Heliodorus.

102. On this theme in Renaissance painting, see A. Chastel, "Le tableau dans le tableau," in Chastel (as in n. 81), 75-98. For the Middle Ages, see J. Wirth, "La representation de l'image dans l'art du Haut Moyen Age," Revue de l'Art, LXXIX, 1988, 9-21. To be sure, not all images-in-the-image are self-referential, nor are they necessarily analogues of the whole.

103. Alberti, 1966, 56; and idem, 1980, 37.

104. Compare the compositionally similar Annunciation by Pinturrichio in the Borgia Apartments, where the sky region is now the place of God's appearance (reproduction in R. van Marle, The Development of the Italian Schools of Painting, XIV, New York, 1970, 231). Also, see the manuscript illustration allegorizing papal rule in Giovanni Francesco Poggio's De veri patore munere, where above the enthroned pope is a window that is like a mural opened to the skies populated with divine figures (reproduced in G. Morello, ed., Raffaello e la Roma dei papi, Rome, 1986, 169).

105. On the various significations of frontal and profile in Western pictures, see M. Schapiro, Words and Pictures: On the Literal and the Symbolic in the Illustration of a Text, The Hague, 1973.

106. On the complicity of fantasia and point of view. cf. Summers, 133-34.

107. Cf. C. Braider, "Una piu Minerva: The Origins of Perspective and the Aesthetics of the Incarnation in Alberti's Della pittura," in Braider (as in n. 33), 20-36.

108. See M. Heidegger, "On the Essence of Truth," in Existence and Being, trans. R.F.C. Hull and A. Crick, Chicago, 1949, 292-324; and M. Theunissen, "Begriff und Realitat: Hegels Aufhebung des metaphysischen Wahrheitsbegriffs," in Seminar: Dialektik in der Philosophie Hegels, ed. R.-P. Horstmann, Frankfurt, 1978, 324-59. For thoughts on truth and painting, cf. J. Derrida, The Truth in Painting, trans. G. Bennington and I. McLeod, Chicago, 1987; and M. Roskill and D. Carrier, Truth and Falsehood in Visual Images, Amherst, Mass., 1983.