On Alberti's "sign": vision and composition in quattrocento painting - Leon Battista Alberti's commentary 'On Painting'

17. Gage, 39-64, esp. 40-44, where optical mixture is discussed.

18. These schematic tendencies are more pronounced in later panel painting. On the icon in of S. Maria de Urbe, see Ernst Kitzinger, "Icons of the Seventh Century," in Art of Byzantium and the Medieval West: Selected Studies, Bloomington, Ind., 1976, 233-51.

19. Hills, 19-25, esp. 19.

20. Ibid., 25.

21. On the date and authorship, see Theophilus, De Diversis Artibus: The Various Arts, ed. and trans. C. R. Dodwell, London, 1961, xxviii-xliv; and John Van Engen, "Theophilus Presbyter and Rupert of Deutz: The Manual Arts and Benedictine Theology," Viator, XI, 1980, 147-63.

22. Theophilus I.III, V (as in n. 21), 6-7. The Latin in brackets indicates where I have revised Dodwell's translation.

23. My book-length study Devotional Vision, currently in preparation, discusses in detail how the representational structure of medieval art shapes the cognitive processes of prayer with images and vice versa.

24. See Baudri de Bourgueil, Les oeuvres poetiques de Baudri de Bourgueil (1046-1130), ed. P. Abrahams, Paris, 1926, 182, and Hildebert of Lavardin, "Inscriptionum Christianarum Libellus" XXXII, Pat. lat., CLXXI, 1283. In both sources, the distich is described as an inscription for a crucifix.

25. See the fine article by Ragne Bugge, "Effigiem Christi, quem transit semper honora: Verses Condemning the Cult of Sacred Images in Art and Literature," Acta ad Archaeologiam et Artium Historiam Pertinentia, VI, 1975, 127-39.

26. The Latin is taken from Baudri de Bourgueil (as in n. 24), 182. William Durandus, "Rationale Divinorum Officiorum," bk. 1, chap. 3, sec. 1, transposes the words "praesens quam" in the first line. See William Durandus, The Symbolism of Churches and Church Ornaments: A Translation of the First Book of the Rationale Divinorum Officiorum, ed. and trans. J. M. Neale and B. Webb (1843), New York, 1973, 53-54.

27. For a discussion of a work bearing this version of the "Nec Deus" distich, see Christine Verzar Bornstein, Portals and Politics in the Early Italian City-State: The Sculpture of Nicholaus in Context, Civilta Medievale, Parma, 1988, 104, whose claim that the inscription alludes "to the need for an allegorical reading" is not supported.

28. Bugge (as in n. 25). Cf.J. Hamburger, "A Liber Precum in Selesat and the Development of the Illustrated Prayer Book in Germany," Art Bulletin, LXXIII, no. 2, 1991, 228.

29. Rupert of Deutz, "Anulus sive dialogus inter Christianum et Iudaeum," III, ed. R. Haacke, OSB, in Maria Lodovica Arduini, Ruperto di Deutz e la controversia tra Cristiani ed Ebrei nel secolo XII, Istituto Storico Italiano per il Medio Evo, Studi Storici, fasc. 119-21, Rome, 1979, 236, esp. lines 443-53, 458-65; cf. Pat. lat., CLXX, 603.

30. Gerhoch of Reichersberg, Commentarius aureus in psalmos et cantica ferialia, on Psalm 40, verse 14, Pat. lat., CXCIII, 1486, my translation. Discussed, but with a different emphasis, by Karl F. Morrison, "I Am You" The Hermeneutics of Empathy in Western Literature, Theology, and Art, Princeton, 1988, 193.