Notes

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Notes
1. Erwin Panofsky, Renaissance and Renancences in Western Art (Stockholm: Almquist and Wiksells, Harper Torchbooks, 1960), p. 187; and Emile Male, Religious Art, From the Twelfth to the Eighteenth Century (New York: Pantheon Books, 1949, rpt., 10th ed., Noonday Press, 1972), n. trans., p. 9.
2. Panofsky, Ibid.
3. Nobile claret opus, sed opus quod nobile claret Clarificet mentes, ut eanut per lumina vera Ad verum lumen, ubi Christus janua vera ... and Pars nova posterior dum jungitum anterior, Aula micat medio clarificate suo. Claret enim claris quod clare concopulatur, Et quod perfundit lux nova, claret opus Nobile, quod constat actum sub tempore nostro, Que suggerus eram, ne duce dum fieret.
4. He may have accomplished this "inadvertently"; Whitney Stoddard, Art and Architecture in Medieval France (Middletown, Conn: Wesley University Press, Harper Icon Books, 1966), p. 101.
5. Erwin Panofsky, Gothic Architecture and Scholasticism, (New York: Medidian Books, 1971), p. 20, says there is a genuine "cause and effect" relation between Gothic architecture as an artifact and the Scholastic method as a method. He cannot be correct in emphasizing light metaphysics, if the above is true.

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6. Un Sainte, Gregoire le Grand, qui fin du sixieme annonce a l'Occident les ecrits d'un Denys presente par les Grecs comme le membre de l'Areopage converti par Saint Paul. Dionysiaca, (Paris: desclee e Brouwer & Cie, Editeurs, 1937), p. lxv.
7. Ibid.
8. Cinquante ans plus tard, c'est un Pape et un Saint, qui fonde solennell ement l'autorite doctrinale se Denys et cree son magistere. A trois reprises, au synode de Latran en 649, Denys est a l'honneur, sur les levres du Pontife Romain. Ibid., p. lxvii. This synod established Dionysius' authority as "uncontested" (Oxford Dictionary of the Christian Church, ed. F. L. Cross, (London: Oxford University Press, 1958), p. 403).
9. Josef Pieper, quoting Hegel, Samtliche Werke, ed. H. Glockner, vol. 19, p. 199; from Scholasticism: Personalities and Problems of Medieval Philosophy (New York: McGraw-Hill, 1964), p 48.
10. Richard Krautheimer, Studies in East Christian, Medieval and Renasissance Art, (New York: New York University Press, 1969), p. 245, n. 87; G. G. Coulton agrees, "... somewhere around 830 ... this identification was crystallized into a dogma"; Studies in Medieval Thought (London: Thomas Nelson and Sons, Ltd., 1940), p. 61.
11. Krautheimer, Ibid.
12. Alfred E. Taylor, Platonism and Its Influence (New York: Cooper Square Publishers, Inc., 1963), p. 19.

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13. Dionysius the Areopagite, The Divine Names and The Mystical Theology, trans. C. E. Rolt (London: S.P.C.K., 1920, rpt. 1940), pp. 95-98; for the Greek version, Dionysius the Areopagite, Omnia Opera, "De Divinis Nominibus," Patrologia Graeca, ed. J. P. Migne, (Parisiorum: Seu Petit-montrouge, 1857).
14. Dionysius the Areopagite, On the Ecclesiastical Hierarchy, IV. 3, quoted from Gerhart B. Ladner, in "The Image Concept," Dumbarton Oaks Papers, 7 (Cambridge: Harvard University Press, 1957), p. 13.
15. Dionysius the Areopagite, quoted from Wladyslaw Tatarkiewicz, History of Aesthetics, II, ed. C. Barrett; translator, R. M. Montgomery (The Hague: Mouton Publishers, 1970), p. 34.
16. Marcel Aubert, The Art of the High Gothic Era, trans. Peter George (New York: Greystone Press, 1966), p. 28.
17. Banister Fletcher, A History of Architecture on the Comparative Method (New York: Charles Scribner's Sons, 1958), p. 500.
18. Male, Religious Art, Ibid., p. 94.
19. Ibid., p. 93.
20. James Rosser Johnson, The Radiance of Chartres, Columbia University Studies in Art History and Archeology, No. 4 (New York: Random House, 1964) pursued the idea to book-length; however, he also noted the

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relative mopia (see p. 19). George Henderson, while praising the clarity of the minds which constructed Chartres, indicated he wished they had permitted one to study it in a "better light" ("Gothic," Style and Civilization, ed. John Fleming and Hugh Honour, (Hammondsworth, England: Penguin Books, Ltd., 1967), p. 151).
21. Patrick Reutersward, "What Color is Divine Light?" Light: from Aten to Laser, Art News Annual XXV, ed. Thomas B. Hess and John Ashberry (New York: MacMillian Co., 1969), p. 109; he suggests: "to enter the cathedral of Chartres on a sunny day is an unforgettable experience. At first one experiences only darkness."
22. Johnson, p. 19.
23. Paul LaCroix, The Arts in the Middle Ages and the Renaissance (New York: Frederick Ungar Publishing Co., 1964), p. 258; however, Alfons Dierick, The Stained Glass of Chartres, (Berne: Hallwag, Ltd., N.D.) p. 8, says there are one hundred and seventy-three.
24. William R. Lethaby, Medieval Art, rev. David Talbot Rice (New York: Greenwood Press, 1950), p. 130.
25. Hetwin Schaefer, "The Origin of the Two-Tower Facade in Romanesque Architecture," The Art Bulletin 27, No. 2 (1945), p. 85.
26. Alexander Eliot, Sight and Insight (New York: McDowell-Oblensky, Inc., 1959),

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suggests that looking from the nave into the clerestory windows at Chartres is analogous to looking at "a dark night sky lighted by constellations." (p. 183).
27. Winthrop Weatherbee, Platonism and Poetry, the Literary Influence of the School of Chartres, (Princeton: Princeton University Press, 1972), p. 60.
28. Rolt; see n. 13.
29. Richard H. and Mary A. Rouse, "John of Salisbury and the Doctrine of Tyrannicide," Speculum, 42, No. 3 (1967), p. 697.
30. David Baumgardt, Great Western Mystics (New York: Columbia University Press, 1961), p. 46; Meister Eckhart, A Modern Translation, trans. Raymond Bernard Blakney (New York: Harper and Brothers, Harper Torchbooks, 1941), pp. xi, 185, and 231.
31. Rolt; see n. 13.
32. Louis Hatecoeur in Mystique et Architecture Symbolisme Cercel et de la Coupole (Paris: Editions A. et J. Picard et Cie, 1954), says: "Cette doctrine de l'ignorance infinie, de la nuee divine se retrouve chez tous les mystiques ... Plotin et son ecole, Origene, Evagrius, Gregoire de Nysee, et le Pseudo-Denys" (p. 177).
33. Rolt, Mystical Theology II.1, p. 103.
34. A. C. Crombie, Medieval and Early Modern Science, I (Cambridge: Harvard

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University Press, 1953; Doubleday and Co., revised, 1959), p. 14} Plato, "The Timaeus," trans. R. G. Bury, The Loeb Classical Library, VII, ed. T. E. Page (Cambridge: Harvard University Press, 1928), Section 46, paragraphs B/C.
35. Jan van der Meulen, "A Logos Creator at Chartres and Its Copy," Journal of the Warburg and Courtauld Institutes, 29 (1966) p. 98, n. 41.
36. Henderson, "Gothic," p. 74. Hatecoeur suggests the first attachment to the idea of the church as Heavenly Jerusalem is: "D'apres la mystique de saint Maximin le Confesseur" (p. 229. n.2).
37. Millard Meiss, "Light as Form and Symbol in Some Fifteenth Century Paintings," The Art Bulletin, 17, No. 3 (1945).
38. Meiss, p. 180; Ludwig Baldass, Jan van Eyck, (London: Phaidon Press, n.d., 1951) says van Eyck's use of light in The Virgin in the Church allows him to "give correct values to everything" (p. 28).
39. 39Meiss, p. 181, indicates that he is not certain the statue is from the 13th century, just that it is "of an earlier style." However, Panofsky, in "The Friedsam Annunciation," Art Bulletin, 17, No. 4 (1935), p. 449, is certain this painting is one in which van Eyck "felt his way to an almost archaeologically correct ... thirteenth century Gothic...."

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40. The clerestory windows were all set between 1200 and 1240. (Alfons Dierick, The Stained Glass Windows of Chartres, p. 9).