Providing a fresh evaluation of Alberti's text On Painting (1435), along with comparisons to various works of Nicholas Cusanus this study reveals a hitherto unsuspected shared epistemology of vision. Analyzing a range of artworks in light of Alberti's and Cusanus's ideals of vision, the author attributes a more deeply Christian Neoplatonic ideal than is typically accorded to Alberti, and adds a new dimension to our understanding of theories of vision in the Italian Renaissance.
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