[1]甲壳虫贝利（Beetle Bailey），以军旅生活为背景的诙谐漫画《菜鸟从军记》的主角。——译注
[2]E. R. Curtius, European Literature and the Latin Middle Ages, translated by Willard R. Trask (London, 1953), p. 224, n. 20.
[3]阿尔琴（Alcuin）坦承，爱美丽的生物、芳香的气味和优美的声音（species pulchras, dulces sapores, sonos suaves）比爱上帝容易[C. Halm, Rhetores Latini Minores （Leipzig, 1863）, p.550]。但是他还写道：“这些事物如在其位，即我们通过它们增进对上帝的爱，那么这样的爱——对装饰的爱（amor ornamenti），是非常正当的。”
[4]Consuetudines Carthusienses, chap. 40 (PL, 153, col. 717).
[5]该处与紧接其后的圣伯纳引文出自其《致圣蒂耶里的威廉的辩护书》第12章（PL, 182, cols. 914—916）。
[6]该处译文引自谢弗—克兰德尔：《剑桥艺术史：中世纪艺术》，钱乘旦译，译林出版社，2009年。稍有改动。——译注
[7]St. Augustine, Confessions, X, 33.
[8]S.T., II—II, 91, 2.
[9]St. Bernard, Sermones in Cantica, XXV, 6 (PL, 183, col. 901).
[10]Boethius, The Consolation of Philosophy, III, 8.
[11]悲叹消逝（ubi sunt）的字面意义为“[它们]何在”，出自“Ubi sunt qui ante nos fuerunt?”（那些曾在我们面前的，如今何在？），另作“ubi nunc”（如今何在）。——译注
[12]Boethius, The Consolation of Philosophy, III, 8.
[13]Gilbert of Hoyt, Sermones in Canticum Salomonis, XXV, 1 (PL, 184, col. 129).
[14]Sermones in Cantica, LXXV, 11 (PL, 183, col. 1193).
[15]Hugh of St. Victor (Hugh of Paris), De Modo Dicendi et Meditandi, 8 (PL, 176, col. 879).
[16]Hugh of St. Victor, Soliloquium de Arrha Animae (PL, 176, col. 951).
[17]Matthew of Vendôme, The Art of Versification, translated by Aubrey E. Galyon (Ames, Iowa, 1968).
[18]Baldwin of Canterbury, Tractatus de Vulnere Charitatis (PL, 204, col. 481).
[19]Sermones in Canticum Salomonis, XXXI, 4 (PL, 184, col.163).
[20]Victor Mortet, Recueil de textes relatifs à l’histoire de l’architecture, 2 vols. (Paris, 1911, 1929).
[21]J. Huizinga, The Waning of the Middle Ages, translated by F. Hopman (Harmondsworth, 1965),pp. 254—255.
[22]J. Huizinga, p. 256.
[23]See Erwin Panofsky, Abbot Suger on the Abbey Church of St. Denis and its Art Treasures (Princeton, 1946). Also Elizabeth G. Holt, A Documentary History of Art, 2 vols. (New York, 1957), I, pp. 22—48. Suger’s De Rebus Administratione sua Gestis is in PL, 186, cols. 1211—1239.
[24]Erwin Panofsky (1946), pp. 77, 79.
[25]Erwin Panofsky (1946), p. 63.
[26]See J. Guifferey, Inventaire de Jean, duc de Berry (Paris, 1894—1896).
[27]吗哪（manna），《圣经》中以色列人经过旷野时所得的天赐食物。——译注
[28]Erwin Panofsky (1946), pp. 63, 65.
[29]St. Isidore of Seville, Senteniarum Libri, I, 8, 18 (PL. 83. cols. 551—552).
[30]Honorius of Autun, Gemma Animae, chap. 132 (PL, 172, col. 586).
[31]Genesis, I, 31 and II, 1.
[32]Wisdom, XI, 21.
[33]Plato, Timaeus, translated by A. E. Taylor (London, 1929), p. 100.
[34]Cicero, De Natura Deorum, II, 7.
[35]ώς πάντα πρός έαυτό χαλούν (όθεν χαί χάλλος λέγεται).
[36]Dionysius the Areopagite, The Divine Names, translated by C. E. Holt (London 1920), pp. 95—96.
[37]See John Scotus Eriugena, On the Divine of Nature, translated by Myra L. Uhlfelder (Indianapolis, 1976), III, 6.
[38]William of Auvergne, De Anima, V, 18, quoted in LB.
[39]William of Auxerre, Summa Aurea, quoted in LB.
[40]Aristotle, Metaphysics, III, 3; IV, 2; X, 2.
[41]Philip the Chancellor, Summa de Bono. Quoted in Henri Pouillon, ‘Le Premier Traité des propriétés transcendentales’, Revue néoscholastique de philosophie, XLII (1939), pp. 40—77.
[42]古希腊语中，kàllos（阳性形式）也作kalòn（中性形式），它在现代语言中通常被译作“美”。由于美善合一的观念，kàllos之美有着道德的内涵。——译注
[43]这段对照译文出自ET, I, p. 359。
[44]PL, 199, col. 259.
[45]ET, loc. cit.
[46]Otloh of St. Emmeran, Dialogues de Tribus Quaestionibus, chap. 43 (PL, 146, col. 120).
[47]这部分引文出自LB。
[48]“高尚的事是本身可取而又值得称赞的事，或本身既好而又由于好而使人愉快的事。如果这就是高尚的事的定义，那么美德一定是高尚的，因为美德是好东西，而且是值得称赞的。”Aristotle, Rhetoric, 1366a 33.[译文引《罗念生全集（第一卷）》，罗念生译，上海人民出版社，2004年，第176页。——译注]
[49]此处和以下引文出自LB。
[50]Alexander of Hales, Summa Theologica (Florence, 1924, 1928, 1930, 1948).
[51]Alexander of Hales, I, n. 103.
[52]See F.-M. Hequinet, ‘Un Brouillon autographe de S. Bonaventure sur le commentaire des sentences’, Études Franciscains, XLIV (1932), pp. 633—655, and XLV (1933), pp. 59—82.此处引文出自LB。
[53]J. Maritain, Art and Scholasticism, translated by J. F. Scanlan (London, 1930), p. 132, n. 63b.
[54]此处与以下引文参见Albertus Magnus, De Pulchro et Bono, in St. Thomas Aquinas, Opera Omnia, edited by Roberto Busa, 7 vols. (Stuttgart, 1980), VII, pp. 43—47。
[55]阿尔伯图斯在这里指的可能是：Cicero’s De Officiis, I, 27, §95。
[56]鲜明性（claritas）是中世纪美学里的一个重要概念，指感官尤其是视觉对色彩所感的性质，包含色彩的鲜艳、明亮和单纯。——译注
[57]St. Augustine, Letter 3 (to Nebridius), Letters, vol. 1, translated by Sister Wilfred Parsons (Washington, 1951), pp. 6—11 (p. 9).
[58]Cicero, Tusculan Disputations, translated by J. E. King (London and Cambridge, 1950), IV, 13.
[59]“秩序和比例是美的，是有用的。”H. Diels, Die Fragmente der Vorsokratiker, 6th edition (Berlin, 1951—1952), I, 469.
[60]关于波留克列特斯和盖伦的讨论，参见Erwin Panofsky, Meaning in the Visual Arts (Harmondsworth, 1970), pp. 90—100。
[61]Erwin Panofsky (1970), p. 96.
[62]Erwin Panofsky (1970), p. 92.
[63]Vitruvius, On Architecture, translated by Frank Granger (London, 1931—1934). III, 1. 1 and I, 2 4.
[64]Vincent of Beauvais, Speculum Naturale. H. O. Taylor, The Medieval Mind, 2 vols. (London, 1911), II, pp. 315—322以小篇幅讨论了这部作品及其作者。
[65]在中世纪，毕达哥拉斯被视作音乐史上最杰出的人物。
[66]Boethius, De Institutione Musica, edited by Godofredus Friedlein (Leipzig, 1867), I, 34.
[67]De Institutione Musica, I, 33.但是同样在此处，他也如此描述某些音乐理论：“我已经用数学和耳朵的判断证明了这一切。”
[68]此处以及以下几处引文出自De Institutione Musica, I, 3。
[69]De Inst. Mus., I, 8.
[70]De Inst. Mus., I, 1.
[71]Jerome of Moravia, Tractatus de Musica, chap. 7, in Scriptorum de Musica Medii Aevi, edited by E. de Coussemaker, 3 vols. (Hildesheim, 1963; 1st pub. Paris, 1864—1867), I, pp. 1—94 (p. 13).
[72]Honorius of Autun, Liber Duodecim Quaestionum, chap. 2 (PL, 172, col. 1179).
[73]John Scotus Eriugena, On the Division of Nature, Book III, passim.
[74]Tullio Gregory, Anima Mundi (Florence, 1955), p. 214.
[75]Plato, Timaeus, 30d and 31c.（译文引自柏拉图：《蒂迈欧篇》，谢文郁译，上海人民出版社，2005年，第21—22页。——译注）
[76]William of Conches, Dragmaticon. Quoted in Tullio Gregory, p. 178.
[77]William of Conches, in Timaeum. Quoted in Tullio Gregory, p. 213.
[78]Alan of Lille, The Plaint of Nature, translated by James J. Sheridan (Toronto, 1980), p. 218.
[79]Macrobius, Commentary on ‘The Dream of Scipio’, translated by W. H. Stahl (New York, 1952), II, 12.
[80]Tractatus de Musica Plana, chap. 2, in E. de Coussemaker, II, pp. 434—483 (p. 435).
[81]See ET, II, pp. 343f.
[82]Quoted in H. O. Taylor, The Medieval Mind, II, pp. 347—348.（译文引自亨利·奥斯本·泰勒：《中世纪的思维：思想情感发展史》，赵立行、周光发译，上海三联书店，2012年，第942页。——译注）
[83]See the anonymous Tractatus de Musica in E. de Coussemaker, II, pp. 251—281.
[84]狄斯康特（descant），一种中世纪音乐，一位歌手演唱固定旋律，其余歌手合以即兴演唱。——译注
[85]Hucbald of Saint-Amand, Musica Enchiriadis, chap. 9, in Scriptores Ecclesiastici de Musica Sacra Potissimum, edited by Martin Gerbert, 3 vols. (Hildesheim, 1963; 1st pub. St. Blasien, 1784), I, pp. 152—212 (p. 159).
[86]康都曲（conductus），二声部或三声部的中世纪音乐，因其主调特点而与复调的经文歌曲不同。
[87]Franco of Cologne, Ars Cantus Mensurabilis, chap. 11, in E. de Coussemaker, I, pp. 117—136 (p. 132).
[88]Geoffrey of Vinsauf, The New Poetics, translated by Jane Baltzell Kopp, in Three Medieval Rhetorical Arts, edited by James J. Murphy (Berkeley, Los Angeles, London, 1971), see in particular p. 61.
[89]Edmond Faral, Les Arts poétiques du XIIe et siècle (Paris, 1924), p. 60.
[90]Alcuin, Dialogue de Rhetorica et Virtutibus (PL, 101. cols. 919—950).
[91]Vincent of Beauvais, Speculum Doctrinale, XI, 12, 14.
[92]布道中用于说明观点的故事。在中世纪，许多这类故事出现在一些名为《示例书》（Libri Exemplarum）的选集中。
[93]See Louis Réau, ‘L’Influence de la forme sur l’iconographie de l’art médiévale’, in Formes de l’art, formes de l’esprit, by various authors (Paris, 1951).
[94]两个著名的例子是Cennino Cennini的Painter’s Manual of Mount Athos和Il Libro dell’Arte。关于这两部作品，参见Erwin Panofsky (1970), pp. 102f。
[95]Album de Villard de Honnecourt, edited by and annnotated by J. B. A. Lassus and Alfred Darcel (Paris, 1968).
[96]See George Saintsbury, A History of Criticism, 3 vols. (London, 1900), I, p. 404.
[97]两个9世纪的例证为奥雷利安努斯·雷奥门西斯和欧塞尔的雷米。See Martin Gerbert, I, pp. 23 and 68.
[98]St. Augustine, The Greatness of the Soul, translated by W. H. Stahl (New York, 1952), chaps. 8—11.
[99]不过在神秘主义者和大多数新柏拉图主义者的作品中，光总是一种对于精神实在的隐喻。
[100]André Grabar and Carl Nordenfalk, Early Medieval Paintings, from the Fourth to the Eleventh Century, translated by Stuart Gilbert (Skira, 1957), p. 206.
[101]Chrétien de Troyes, Arthurian Romances, translated by W. W. Comfort (London, 1914), p. 21.
[102]ET, III, pp. 9f中给出了许多法语诗歌和普罗旺斯语诗歌的例子。
[103]J. Huizinga, p. 237.
[104]J. Huizinga, p. 259.
[105]S. T., I, 39, 8.
[106]Hugh of St. Victor, De Tribus Diebus, chap. 12 (PL, 176, col. 821. The treatise is given here as Book VII of Didascalicon).
[107]ET, III, p. 86.
[108]Erwin Panofsky (1946), p. 22.
[109]See Giovanni Getto, ‘Poesia e Teologua nel Paradiso di Dante’, in Aspetti della Poesia di Dante (Florence, 1966), pp. 193—235.
[110]Dante, Il Paradiso, XIV, 67—69, translated by John Ciardi, The Divine Comedy (New York and London, 1970).
[111]Quoted in Charles Singer, ed., Studies in the History and Method of Science (Oxford, 1917), p. 33.
[112]See M. Menéndez y Pelayo, Historia de las Ideas Estéticas en España (Madrid, 1890), I, chap. 3.
[113]Robert Grosseteste, Comm. in Div. Nom. Quoted in LB.
[114]Robert Grosseteste, Comm. in Hexaemeron. Quoted in LB.
[115]Comm. in Div. Nom. Quoted in LB.
[116]此处和下一处引文来自Robert Grosseteste, On Light, translated by Clare C. Riedl (Milwaukee, 1942), p. 10。
[117]St. Bonaventure, In Il Sent., 13, 2, 2.
[118]S. T., 1, 67, 3.
[119]St. Thomas Aquinas, Comm. de Anima, II, 14, 421.
[120]J. Huizinga, p. 194.
[121]Lewis Mumford, The Condition of Man (London, 1944), pp. 138f.
[122]Honorius of Autun, Gemma Animae, chap. 132 (PL, 172, col. 586).
[123]J. Huizinga, pp. 195f.
[124]Pseudo-Dionysius, Cêlestial Hierarchy, II.
[125]J. Huizinga, p. 198.
[126]埃德加·德·布吕纳写道，形而上象征主义是“存在参与的美学表达”。L’Esthêtique du moyen age (Louvain, 1947), p. 93.
[127]Macrobius, Commentary on ‘The Dream of Scipio’, I, 14.
[128]John Scotus Eriugena, On the Division of Nature, V, 3.
[129]John Scotus Eriugena, Super Hierarchiam Coelestem, chap. 1 (PL, 122, col. 128).
[130]Hugh of St. Victor, De Tribus Diebus, chap. 4 (PL, 176, col. 814. See n. 9, Chapter IV above).
[131]Hugh of St. Victor, In Hierarchiam Coelestem, II (PL, 175, col. 949).
[132]关于宝石药用价值和巫术特性的图书。
[133]基于动物世界奇闻逸事的基督教寓言集。约2世纪末时初现于亚历山大港，中世纪时得到广泛翻译和阅读。
[134]Honorius of Autun, Speculum Ecclesiae, PL, 172, cols. 807—1107; De Imagine Mundi, PL, 172, cols. 115—187. Guillaume Durandus, Rationale Divinorum Officiorum (Treviso, 1479). Selections from Book I of Durandus are printed in Elizabeth G. Holt, I, pp. 120—129.
[135]Richard of St. Victor, Benjamin Major, II, 12 (PL, 196, col. 90).
[136]Quoted in ET, II, p. 338.
[137]Benjamin Major, II, 14 (PL, 196, col. 92).
[138]See Domenico Comparetti, Virgil in the Middle Ages, translated by E. F. M. Benecke (London and New York, 1895).
[139]Quaestiones Quodlibetales, VII, 6, 3.
[140]Henri Focillon, The Art of the West, translated by Donald King, 2 vols. (London, 1963), I, p. 8.
[141]该例子取自Emile Mäle, ‘Le Portail de Senlis’, in Art et artistes du moyen age (Paris, 1947)。
[142]S. T., I, 1, 9.
[143]Quaestiones Quodlibetales, VII, 6, 3.
[144]Ibid.
[145]S. T., I, 1, 10 ad 3.
[146]Plato, The Sophist, 235 and 236a, translated by H. N. Fowler (London and Cambridge, 1921).
[147]Erwin Panofsky(1970), p. 130.
[148]这与现代的移情（Einfühling）理论不无相似之处。
[149]Benjamin Major, I, 4 (PL, 196, col. 67).
[150]Itinerarium Mentis in Deum, II, 5.
[151]In I Sent., 1, 3, 2.
[152]In I Sent., 10, 1, 2.
[153]William of Auvergne, De Bono et Malo. Quoted in LB.
[154]Ibid.
[155]三者都有“看”和“观察”的意思。——译注
[156]两者分别有“使和缓”和“使愉悦”的意思。——译注
[157]奥弗涅的威廉的灵魂理论参见ET, III, pp. 80—82。
[158]关于《论智性》的文本，参见Clemens Baumker, Witelo (Münster, 1908), pp. 1—71。See in particular chaps. XII and XVIII.
[159]威特罗《论光学》的部分文本刊印于Clemens Baumker, Witelo, pp. 127—179。该处总结的论点和引用的段落，参见p. 143 and pp. 172—175。
[160]该议题的讨论参见Umberto Eco, Il Problema Estetico in Tommaso d’Aquino, 2nd edition (Milan, 1970), chap. 2。
[161]S. T., I, 5, 4 ad 1.
[162]S. T., I—II, 27, 1 ad 3.
[163]S. T., I, 67, 1; S. T., I—II, 77, 5 ad 3.
[164]S. T., I, 39, 8.
[165]St. Augustine, De Ver Religione, 32.
[166]John Duns Scotus, Opus Oxoniense (Quaest. in Lib. Sent.), IV, 49, 4, 4.
[167]Opus Oxoniense, I, 1, 5, 1.
[168]S. T., I—II, 27, 1 ad 3.
[169]Ibid.
[170]J. Maritain, Art and Scholasticism. See for example pp. 44—49.
[171]S. T., I, 84 and I, 85, 1—2—3.关于这一关联参见M. D. Roland-Rosselin, ‘Peut-on parler d’intuition intellectuelle dans la philosophie Thomiste?’, in Philosophia Perennis (Regensburg, 1930)。
[172]S. T., I, 86, 1.
[173]隐德来希（entelechy），亚里士多德创造的术语，意为“完全实现”，即目的的达成、潜能的实现、运功的完成。它是世界的第一推动者。——译注
[174]S. T., I—II, 110, 3 ob. 3.
[175]Summa Contra Gentiles, II, 54.
[176]See Etienne Gilson, The Christian Philosophy of St. Thomas Aquinas (London, 1957), Part I, chap. 1.
[177]Arnold Hauser, The Social History of Art, 2 vols. (London, 1951), I, p. 233.
[178]Summa Contra Gentiles, II, 81.
[179]Comm. de Anima, I, 9, 144.
[180]S. T., II—II, 141, 4 ad 3.
[181]S. T., II—II, 145, 2.
[182]See S. T., I, 5, 4 ad 1, and Comm. de Anima, III, 2, 597—598.
[183]See Comm. Div. Nom., IV, IX, X, XI.
[184]Comm. de Anima, II, 8, 332.
[185]In IV Sent., 44, 3, 1.
[186]S. T., I, 16, 1.
[187]De Principiis Naturae, 11.
[188]S. T., I, 91, 3.
[189]Ibid.
[190]S. T., I, 91 3 ad 3.
[191]Ibid.
[192]S. T., I—II, 57, 3.
[193]See S. T., II—II, 169, 2 ad 4.
[194]S. T., I, 67, 3.
[195]S. T. III, 45, 2.
[196]See S. T., I, 85, 5.
[197]De Veritate, 22, 1 ad 12.
[198]De Veritate, 22, 1 ad 12.
[199]该作品长期被归于亚里士多德名下，如今被认定为普罗克洛斯的《神学规范》（Institutio Theologica）。
[200]Ulrich of Strasbourg, Summa de Summo Bono, II, 3, 5. Quoted in LB.
[201]Ibid.
[202]Quoted in M. Menéndez y Pelayo, Historia de las ideas estéticas en España, I, chap. 4.
[203]Opus Oxoniense, I, 17, 3, 13.
[204]Opus Oxoniense, IV, 11, 3, 46.
[205]Opus Oxoniense, II, 3, 6, 13.
[206]Opus Oxoniense, II, 3, 6, 2.
[207]Opus Oxoniense, IV, 45, 3, 17 and 21.
[208]William of Ockham, Quodlibeta, VII, 13.
[209]In I Sent., XXX, 1.
[210]In I Sent., XXV, 5.
[211]In Lib. Sent., Prologue, 1.
[212]See Hastings Rashdall, ‘Nicholas de Ultricuria, a Medieval Hume’, Proc. Aristotelian Soc., VII (1907), pp. 1—27.
[213]See Eugenio Garin, Medioevo e Rinascimento, 2nd edition (Bari, 1961), p. 38.
[214]Jan Ruysbroeck, L’Admirable, translated by Ernest Hello (Paris, 1902), p. 39.
[215]Dionysius the Carthusian, Opera Omnia (Tournai, 1896—1913), I, p. 44.
[216]S. T., I—II, 57, 4.
[217]Alexander of Hales, Summa Theologica, II, 12.
[218]Cassiodorus, De Artibus et Disciplinis Liberalium Litterarum, Preface (PL, 70, col. 1151).
[219]John of Salisbury, Metalogicon, translated by Daniel D. McGarry (Berkely and Los Angeles, 1962), I, 12.
[220]Isidore of Seville, Etymologiae, edited by W. M. Lindsay (Oxford, 1911), I, 1.
[221]S. T., I—II, 57, 3.
[222]Hugh of St. Victor, Didascalicon, I, 9.
[223]William of Conches, Comm. In Timaeum. Quoted in ET, II, p. 266.
[224]S. T., I, 117, 1.
[225]John of Salisbury, Metalogicon, I, 11.
[226]John of Salisbury, Metalogicon, I, 11.
[227]这一论证在Aquinas, De Principiis Naturae中得到展开。
[228]Comm. De Anima, II, 1, 218.
[229]S. T., II, 2, 1.
[230]Summa Contra Gentiles, III, 64.
[231]St. Bonaventure, In III Sent., 37, 1, dub. 1.
[232]In II Sent., 7 (pars 2), 2, 2.
[233]In II Sent., 1, 2 ad 2.
[234]In II Sent., 7 (pars 2), 2, 2.
[235]S. T., I, 77, 1 ad 7.
[236]Aristotle, Politics, VIII, 2.
[237]Domenico Gundisalvi, De Divisione Philosophiae, edited by Ludwig Baur (Münster, 1903).
[238]一些作家证实了这一观点，称mechanicae一词源于动词moechari，即乱伦。这一语源在圣维克多的修伊处再次出现，Didascalicon, I, 9。
[239]S. T., I—II, 57, 3 ad 3.
[240]Etienne Gilson, Painting and Reality (London, 1957), p. 31.
[241]Quintilian, Institutio Oratoria, IX, 4.
[242]Synod of Arras, chap. XIV, in Sacrorum Conciliorum Nova et Amplissima Collectio, edited by J. D. Mansi, 53 vols. (Paris & Leipzig, 1901—1927), XIX, p. 454.
[243]Bernard Silvestris, Commentary on the Aeneid, Prologue, edited by Julian Ward Jones and Elizabeth Frances Jones (Lincoln and London, 1977), p. 3.
[244]S. T., I—II, 32, 1 ad 3.
[245]Libri Carolini, PL, 98, cols. 941—1350.
[246]Libri Carolini, II, 27 (PL, 98, col. 1095).
[247]Libri Carolini, IV, 16 (PL, 98, col. 1219).
[248]See J. Schlosser-Magnino, Die Kunstliteratur (Vienna, 1924), pp. 26f.
[249]Theophilus, De Diversis Artibus (Schedula Diversarum Artium) edited and translated by C. R. Dodwell (London, 1961).
[250]Alan of Lille, Anticlaudianus, translated by James J. Sheridan (Toronto, 1973), I.
[251]Horace, Ars Poetica, 9—10.
[252]Guillaume Durandus, Rationale Divinorum Officiorum.
[253]S. T., I, 35, 1 ad 2.
[254]St. Bonaventure, In I Sent., 31 (pars 2), 1, 3 ad 2.
[255]See E. R. Curtis, European Literature and the Latin Middle Ages, chap. 8.
[256]Metalogicon, I, 24.
[257]See G. Paré, A. Brunet and P. Tremblay, La Renaissance du XIIe siècle (Ottawa, 1933).
[258]See Edmond Faral, p. 203.
[259]M. Menéndez y Pelayo, pp. 310—344.
[260]Summa Theologica, I, 1.
[261]M. Menéndez y Pelayo, p. 416.
[262]The New Poetics, p. 34.
[263]S. T., I—II, 101, 2 ad 2.
[264]S. T., I, 1, 9 ad 1.
[265]Conrad of Hirschau, Dialogus Super Auctores, edited by G. Schepss (Wurzburg, 1989), p. 24.
[266]Seneca, Ad Lucilium Epistulae Morales, VIII.
[267]Albertino Mussato, Epistola IV. Quoted in E. R. Curtius, p. 215.
[268]Aristotle, Metaphysics, 983b—984a.
[269]Comm. in Metaph., 63.
[270]Comm. in Metaph., 83.
[271]Eugenio Garin, Medioevo e Rinasimento, p. 50.
[272]See Augusto Rostagni, ‘Sulle trace di un’estetica dell’intuizione presso gli antichi’, in Scritti Minori, 3 vols. (Turin, 1955), I, pp. 356—371.
[273]普罗提诺关于质料与理念的关系，当然不同于亚里士多德关于质料和形式的关系。
[274]这一艺术理念的理论发展，参见Erwin Panofsky, Idea: A Concept in Art Theory, translated by Joseph J. S. Peake (Columbia, 1968; orig. pub. 1924)。
[275]St. Augustine, Letter 7 (to Nebridius), Letters, vol. I, pp. 14—19 (p. 18).
[276]St. Thomas Aquinas, In III Sent., 27, 2, 4, 3 ad 1.
[277]St. Thomas Aquinas, De Veritate, 3, 2.
[278]De Veritate, 3, 5.
[279]S. T., I, 78, 4.
[280]Comm. de Anima, III, 4, 632—633.
[281]S. T., I, 78, 4.
[282]Etienne Gilson, Painting and Reality, p. 32.
[283]Richard of St. Victor, Benjamin Major, I, 3 (PL, 196, col. 66).
[284]Jehudah Levi (Yehudah Halevi), Liber Cosri, edited by J. Buxtorf (Basle, 1660), p. 361.
[285]Avicenna, Livre des directives et remarques, translated by A.-M. Gorchon (Paris, 1951), p. 515.
[286]See E. R. Curtius, pp. 474—475.
[287]See Ananda Coomaraswmy, ‘Meister Eckhart’s View of Art’, in The Transformation of Nature in Art (Harvard, 1934).
[288]A. Spamer, Texte aus der Deutschen Mystik des XIV und XV Jarhundert (Jena, 1912), p. 7.
[289]See Victor Mortet, p. 305.
[290]关于中世纪艺术家的状况和自我意识，参见ET, II, pp. 406—420; E. R. Curtius, pp. 485—486; Arnold Hauser, I, pp. 244—252。
[291]A. Riegl, Spätrömische Kunstindustrie (Vienna, 1901).
[292]See Umberto Eco, The Aesthetics of Chaosmos: the Middle Ages of James Joyce (Tulsa, 1982); Hugh Bredin, ‘Applied Aquinas: James Joyce’s Aesthetics’, in Eire-Ireland, III (Spring, 1968), pp. 61—78.
[293]John Dewey, Art as Experience (New York, 1934).
[294]Jacques Maritain, Creative Intuition in Art and Poetry (London, 1953)是这一观点的绝佳范例。
[295]See Ananda Coomaraswamy, The Transformation of Nature in Art.
[296]“芝加哥批评学派”中就包含亚里士多德主义与中世纪修辞学的元素。See R. S. Crane, ed., Critics and Criticism (Chicago, 1952).