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306 Notes161. Theophilus, Essai sur divers arts, 18.162. I take this expression from J. Huizinga, The Autumn of the Middle Ages, trans.Rodney Payton and Ulrich Mammitesch (1919; Chicago: University of Chicago Press, 1996),233.163. I allude to two classic books that address these problems: J. Seznec, The Survivalof the Pagan Gods: The Mythological Tradition and Its Place in Renaissance Humanism and Art(Princeton: Princeton University Press, 1972) [first published in French, 1940; first Englishtranslation 1953], which challenges the idea of a ‘‘rebirth’’ of pagan Antiquity in the fifteenthcentury. E. Wind, Pagan Mysteries of the Renaissance (1958; London: Oxford UniversityPress, 1980), to which might be contrasted, for example, the work of T. Verdon, inChristian City and The Renaissance: Image and Religious Imagination in the Quattrocento, ed.Timothy Verdon and John Henderson (Syracuse: Syracuse University Press, 1990).164. One could write an entire history of the conception of the Middle Ages as the‘‘weak link’’ in the history of art, from Vasari to Panofsky. See, on Vasari: A. Thiery, ‘‘IlMedioevo nell’Introduzione e nel Proemio delle Vite,’’ in Il Vasari storiografo e artista—Attidel Congresso internazionale nel iv centenario della morte [1974] (Florence: Istituto Nazionaledi Studi sul Rinascimento, 1976), 351–82; I. Danilova, ‘‘La peinture du Moyen Age vue parVasari,’’ in ibid., 637–42. On Panofsky: J.-C. Bonne, ‘‘Fond, surfaces, support (Panofsky etl’art roman),’’ in Erwin Panofsky, ed. Jacques Bonnet (Paris: Cahiers pour un temps, 1983),117–34.165. To cite only two texts that, despite their differences, converge on this great question:M. Foucault, The Order of Things: An Archeology of the Human Sciences (New York:Random House, 1970), 303–87; and ‘‘La Science et la vérité,’’ in Écrits, 857–59: ‘‘One thingis certain: if the subject is indeed there, at the knot of difference, all humanist referencesto it become superfluous, for it cuts them short. . . . There is no science of man, which istantamount to saying that there are no little economies. There is no science of man,because the man of science does not exist, only his subject does.’’ See also, in the field ofpsychoanalysis, P. Fédida, ‘‘La Psychanalyse n’est pas un humanisme,’’ L’Écrit du temps 19(1988): 37–42.166. See R. Le Mollé, Giorges Vasari e le vocabulaire de la critique d’art dans les ‘‘Vite’’(Grenoble: ELLUG, 1988), 102–31.167. Vite 1:369 [Lives 1:96].168. Ibid.169. Ibid., 1:372 [Lives 1:97].170. Ibid. E. H. Gombrich has exposed the myth as spurious: Gombrich, ‘‘Giotto’sPortrait of Dante?’’ Burlington Magazine 121 (1979): 471–83.171. We are here very far from the notion of the ‘‘long’’ Middle Ages formulated by J.Le Goff, L’Imaginaire médiéval (Paris: Gallimard, 1985), viii–xiii, 7–13.172. C. Avery, L’invenzione dell’uomo: Introduzione a Donatello (Florence: Usher, 1986),39.173. The bòti, which had accumulated in the church from c. 1260–80, were moved tothe cloister in 1665 and completely destroyed in 1785. See O. Andreucci, Il fiorentino istruitonella Chiesa della Nunziata di Firenze: Memoria storica (Florence: Cellini, 1857), 86–88.174. Lorenzo de’ Medici placed his bloodied clothes on his bòto after surviving thePazzi plot of 1478.175. For a history of this phenomenon, which merits further study, see G. Mazzoni, Ibòti della SS. Annunziata in Firenze: Curiosità storica (Florence: Le Monnier, 1923).176. See Aby Warburg, ‘‘The Art of Portraiture and The Florentine Bourgeoisie’’(1902) and ‘‘Francesco Sassetti’s Last Injunctions to His Sons’’ (1907), in The Renewal of