.

[1]. Cf., e.g., BARBARA NIEBELSKA-RAJCA: «The Poetics of Phantasia: Some Remarks on the Renaissance Concepts of Imagination and ‘Fantastic Imitation’», in Zagadnienia Rodzajów Literackich, LXI/1, 2018, pp. 37-51.

[2]. SIGMUND MÉNDEZ: «Classical Sources on phantasía in Pomponius Gauricus’ De Sculptura», in Humanitas, 65, 2013, pp. 141-159; GÖTZ POCHAT: «Rhetorik und bildende Kunst in der Renaissance», in Heinrich F. Plett (ed.), Renaissance-Rhetorik, Berlin-New York: Walter de Gruyter, 1993, p. 268.

[3]. E.g., ANNE SHEPPARD: The Poetics of Phantasia. Imagination in Ancient Aesthetics, Bloomsbury Academic, New York, 2014; JESÚS MUÑOZ MORCILLO: «El Kanón de Epicuro en la Epístola a Heródoto», in Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos 28, 2018, pp. 141-157.

[4]. POCHAT: Rhetorik und bildende Kunst, p. 228.

[5]. On the reception of enárgeia in the Renaissance, see HEINRICH F. PLETT: Enargeia in Classical Antiquity and the Early Modern Age, in International Studies in the History of Rhetoric 4, Brill, Leiden-Boston, 2012; his remarks on enárgeia and art, however, are considered by Zanker to be too sweeping and unconvincing (GRAHAM ZANKER: «Heinrich F. Plett, Enargeia in Classical Antiquity and the Early Modern Age: The Aesthetics of Evidence, International Studies in the History of Rhetoric 4, Brill, Leiden-Boston, 2012. Pp. xii +240. ISBN 978-90-04-22702-6», in The Ancient History Bulletin Online Reviews 3, 2013, pp. 7-9); on enárgeia and painting, see also VALESKA VON ROSEN: «Die Enargeia des Gemäldes. Zu einem vergessenen Inhalt des Ut-pictura-poesis und seiner Relevanz für das cinquecenteske Bildkonzept», in Marburger Jahrbuch für Kunstwissenschaft 27, 2000, pp. 171–208.

[6]. On disseminating manuscripts of Diogenes Laertius’s Lives and Opinions of Famous Philosophers in the Renaissance, see the introduction to the critical edition by TIZIANO DORANDI (ed.): Laertius Diogenes: Lives of Eminent Philosophers, Cambridge University Press, 2017. Diogenes Laertius’s Lives were accessible to humanists thanks to Ambrosio Traversari’s translation into Latin (Traversari 1433); cf. text edition by CHRISTIAN KAISER (2019).

[7]. JESÚS MUÑOZ MORCILLO: El Kanón de Epicuro, 2018, p. 155. On the fourth Epicurean criterion of truth, see the recent article by JAN MAXIMILIAN ROBITZSCH: «ΕΠΙΒΟΛΗ ΤΗΣ ΔΙΑΝΟΙΑΣ: Reflections on the Fourth Epicurean Criterion of Truth», in The Classical Quarterly 71/2, 2021, pp. 601-616.

[8]. See Philostratus‘s Life of Apollonios of Tyana 2.22 and Imagines 1.1.

[9]. FELIX THÜRLEMANN: Dürers doppelter Blick, Universitätsverlag Konstanz, 2008.

[10]. BRONWEN WILSON: «Lithic Images, Jacopo Ligozzi, and the Descrizione del Sacro Monte della Vernia (1612)», in Motion: Transformation, CIHA 2019, Bononia University Press, 2021, pp. 345-352; CLAUDIA BLÜMLE: «Mineralischer Sturm. Steinbilder und Landschaftsmalerei», in Werner Busch, Oliver Jehle (eds.), Vermessen: Landschaft und Ungegenständlichkeit, Zürich, 2007, pp. 151-164; JURGI BALTRUSAITIS: Imaginäre Realitäten. Fiktion und Illusion als produktive Kraft, Köln, 1984.

[11]. Cf. SHEPPARD: The Poetics of Phantasia, 2014, p. 1; on Plato’s concept of phantasía cf. also ALLAN SILVERMAN: «Plato on ‘Phantasia’», in Classical Antiquity 10/1, 1991, pp. 123-147; cf. MIREILLE ARMISEN: «La notion d’imagination chez les Anciens: I – Les philosophes», in Pallas 26, 1979, pp. 11-51; «La notion d’imagination chez les Anciens: II – La rhétorique», in Pallas 27, 1980, pp. 3-37.

[12]. RUTH WEBB: Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice, Surrey, Ashgate, England, 2009, pp. 107-130.

[13]. Cf. KELLI RUDOLPH: «Sight and the Presocratics: Approaches to Visual Perception in Early Greek Philosophy», in Michael Squire (ed.), Sight and the Ancient Senses. The Senses in Antiquity, Routledge, 2015, pp. 36-53.

[14]. JESÚS MUÑOZ MORCILLO: El Kanón de Epicuro, 2018. For an extensive approach to the epicurean phantasía including the role of the epibolḗ, see DAVID KONSTAN: «Epicurean Phantasia», ΠΗΓΗ/FONS 5/1, 2020, pp. 1-18.

[15]. MUÑOZ MORCILLO: El Kanón de Epicuro, 2018.

[16]. Ibidem.

[17]. KONSTAN, «Epicurean Phantasia», 2020, p. 13.

[18]. According to the text edition by Christian Kaiser (2019), intuitus is a correction of imaginales introduced as a scholium by Traversari. See CHRISTIAN KAISER (ed.): Epikur im Lateinischen Mittelalter: Mit einer kritischen Edition des X. Buches der Vitae Philosophorum des Diogenes Laertios in der Lateinischen Übersetzung von Ambrogio Traversari, Brepols, 2019, p. 357). This shows the challenge faced by Traversari for accurately translating the Greek term epibolás. The term intuitus is also used in the sense of epibolaí in the Letter to Herodot (Epistula ad Herodotum § 38).

[19]. On the humanist reception of Epicurean philosophy cf. among others JONES HOWARD: The Epicurean Tradition, London-New York, 1989, pp. 142-165; MARC LIENHARD (ed.): Croyants et sceptiques au XVIe siècle: le dossier des “Epicuriens”: actes. Librairie ISTRA, 1981. On the rediscovery of Lucretius’s manuscript see also STEVEN GREENBLATT: The Swerve: How the World Became Modern, London-New York: W. W. Norton & Company, 2011.

[20]. MARTIN MCLAUGHLIN: «Alberti and the Classical Canon», in Carlo Caruso and Andrew Laird (eds.), Italy and the Classical Tradition Language, Thought and Poetry 1300-1600, Bloomsbury Publishing, 2013, p. 84; LUCIA BERTOLINI: Grecus sapor. tramiti di presenze greche in Leon Battista Alberti, Rome: Bulzoni 1998, p. 85.

[21]. On connections with Epicureism see JEAN WIRTH: «Hans Baldung Grien et les dissidents strasbourgeois», in Marc Lienhard (ed.), Croyants et sceptiques au XVIe siècle: le dossier des “Epicuriens”: actes, Strasbourg: Librairie ISTRA, 1981, 131-138; FRANÇOIS GEORGES PARISET: «L’épicurien et l’art, le cas de Baldung Grien», in Marc Lienhard (ed.), Croyants et sceptiques, 1981.

[22]. UMBERTO ECO: Kunst und Schönheit im Mittelalter, München: dtv, 1993, pp. 122-127.

[23]. GRAHAM ZANKER: «Enargeia in der antiken Poesiekritik», in Rheinisches Museum für Philologie CXXIV, 1981, pp. 297-311.

[24]. On uses of enárgeia in art theoretical literature of the Renaissance, cf. VON ROSEN, Die Enargeia des Gemäldes, 2000, pp. 171–208; see also MUÑOZ MORCILLO, Renaissance der Ekphrasis, 2024: 26-27.

[25]. POCHAT, Rhetorik und bildende Kunst, p. 268.

[26]. ZANKER, Enargeia in der antiken Poesiekritik, 1981; MUÑOZ MORCILLO, El Kanón de Epicuro, 2018.

[27]. AELIUS THEON, Progymnasmata, 118, 7: ἔκφρασις ἔστι λόγος περιηγηματικός ἐναργῶς ὕπ’ ὄψιν ἄγων τὸν δηλούμενον (MICHEL PATILLON, GIANCARLO BOLOGNESI (eds.): Aelius Théon. Progymnásmata, Paris: Les Belles Lettres, 1997, p. 66).

[28]. τὸ μὴ τελέως ἀπομηκύνειν περὶ τὰ ἄχρηστα, ibidem.

[29]. HANS OPPERMANN: «Epikurs Erkenntnistheorie», Das humanistische Gymnasium, 41, 1930, pp. 193-199; here, p. 194. On a critical lecture of Oppermann’s position cf. MUÑOZ MORCILLO, El Kanón de Epicuro, 2018, pp. 151–152.

[30]. MUÑOZ MORCILLO, El Kanón de Epicuro, 2018.

[31]. PETER GROSSARDT: «Zur Frage nach dem Umfang und der Bedeutung der Hinweise auf die Philosophie Epikurs in Flavius Philostrats Vita Apollonii und Heroikos. Eine Entgegnung auf die “Evaluation” von Gerard Boter», in Würzburger Jahrbücher, 2021, pp. 193-242.

[32]. PETER VAN NUFFELEN: «Lucian, Epicureanism and strategies of satire», in Peter van Nuffelen (ed.), Rethinking the Gods, Cambridge University Press, pp. 179-199. Cf. also ALLISON GRAHAM: «Epicureanism and Cynicism in Lucian», in Pseudo-Dionysius, XVIII, March, 2016, pp. 41-48.

[33]. Imagines 2.3 (Female Centaurs), translation by ARTHUR FAIRBANKS, Philostratus the Elder, Imagines. Philostratus the Younger, Imagines. Callistratus, Descriptions, Loeb Classical Library, Cambridge, MA: Harvard University Press, 1931.

[34]. Life of Apollonius of Tyana 2.22, translation by F.C. CONYBEARE, Philostratus. The Life of Apollonius of Tyana, Vol. 1, London: William Heinemann / New York: The McMillan Co., 1912, p. 174-175.

[35]. Perception of a visual stimulus as an object, figure or pattern that actually doesn’t exist.

[36]. Usually, an oblique (1) or mirrored projection (2) that requires a specific vantage point (1) or a specific optical device (2) to see the depicted object.

[37]. E.g., BALTRUSAITIS, Imaginäre Realitäten, 1984; cf. also BLÜMLE, Mineralischer Sturm 2007, pp. 151-164.

[38]. DAVID CASTILLO: (A)wry Views: Anamorphosis, Cervantes and the Early Picaresque, Purdue University Press, 2001, pp. 10-11.

[39]. JOSÉ ANTONIO MARAVALL: La cultura del Barroco. Análisis de una estructura histórica. Barcelona: Ariel, 1980, p. 450.

[40]. FINBARR BARRY FLOOD, «‘God’s Wonder’: Marble as Medium and the Natural Image in Mosques and Modernism», in West 86th: A Journal of Decorative Arts, Design History, and Material Culture 23/2, 2016, pp. 162-341.

[41]. ANDREAS SPEER, GÜNTHER BINDING (eds.), Abt Suger von Saint-Denis ausgewählte Schriften: Ordinatio, De consecratione, De administratione, Darmstadt: WBG, 2008.

[42]. Translation by ARTHUR FAIRBANKS, Elder Philostratus, 1931, p. 3.

[43]. Cf. FLOOD, God’s Wonder, 2016.

[44]. Cf. FLOOD, God’s Wonder, 2016, pp. 172-209.

[45]. Translation by Dorothy Wyckoff; here after FLOOD, God’s Wonder, 2016.

[46]. BLÜMLE, Mineralischer Sturm, 2007, pp. 151-164.

[47]. WILSON, Lithic Images, 2021, pp. 345-52.

[48]. LEON BATTISTA ALBERTI: On Sculpture, translation by Jason Arkles, Lulu Press, 2013.

[49]. Florence, Biblioteca Nazionale, Ms. Magliabechiano II.IV 38, fol. 119v

http://epa.oszk.hu/02500/02582/00005/pdf/EPA02582_nuova_corvina_1999_05_075-087.pdf

[50]. On Alberti’s emblem of a winged eye from an art theoretical perspective see, e.g., ULRICH PFISTERER: «‚Soweit die Flügel meines Auges tragen‘. Leon Battista Albertis Imprese und Selbstbildnis», Mitteilungen des kunsthistorischen Institutes in Florenz 42, 1998, pp. 203–251; MARKUS RATH: «Albertis Tastauge. Neue Betrachtung eines Emblems visueller Theorie», in kunsttexte.de, 1, 2009, pp. 1–7; HORST BREDEKAMP: Der Bildakt, Berlin: Wagenbach, 2015, pp. 321–324; MUÑOZ MORCILLO: Renaissance der Ekphrasis, 2024, pp. 114-116.

[51]. LEON BATTISTA ALBERTI: On Painting, translated by John Richard Spencer, New Haven, CT: Yale University Press, 1966, p. 67.

[52]. Translation by WILLIAM ELLERY LEONARD, Lucretius. De Rerum Natura, E. P. Dutton, 1916.

[53]. On Piero di Cosimo’s paintings, see ELENA CAPRETTI, ANNA FORLANI TEMPESTI, SERENA PADOVANI, DANIELA PARENTI (eds.): Piero di Cosimo, 1462–1522: pittore eccentrico fra Rinascimento e Maniera. Exh. cat., Galleria degli Uffizi. Florence, 2015.

[54]. According to Erwin Panofsky, Piero di Cosimo’s series of paintings on the origins of humankind was primarily inspired by the fifth book of Lucretius’s De rerum natura and Vitruvius’s similar account in De architectura libri decem (2.1). Giovanni Bocaccio reproduced the last one in the Geneologia deorum (Book 12), popularizing the topic at the beginning of the Renaissance, even before Lucretius’s manuscript was rediscovered; see ERWIN PANOFSKY: «The Early History of Man in a Cycle of Paintings by Piero di Cosimo», in Journal of the Warburg Institute 1, July 1937, pp. 24-30. For a history of the editions of DRN in the Renaissance, see ADA PALMER, Reading Lucretius in the Renaissance, Cambridge, Mass., 2014, pp. 243-247.

[55]. On epicurean circles in Renaissance Florence, see ALISON BROWN, «Lucretius and the Epicureans in the Social and Political Context of Renaissance Florence», I Tatti Studies in the Italian Renaissance 9, 2001, pp. 11-62. On the tradition of Lucretius in Renaissance Italy regarding manuscripts and identified readers, see MICHAEL D. REEVE: «The Italian Tradition of Lucretius revisited», Aevum 79/1, 2005, pp. 115-164. See also MICHAEL D. REEVE, «The Italian Tradition of Lucretius», Italia medioevale e umanistica, 23, 1980, pp. 27-46.

[56]. CATHERINE WHISTLER, DAVID BOMFORD: «The Forest Fire by Piero di Cosimo», Ashmolean Museum, Oxford, 1999, p. 9.

[57]. THÜRLEMANN, Dürers doppelter Blick, 2008, pp. 41–43, 59–60, n. 45.

[58]. On the sources of Dürer’s Nemesis see also ERWIN PANOFSKY: «Virgo & Victrix, a note on Dürer's Nemesis», in Carl Zigrosser (ed.), Prints, New York: Holt, Rinehart and Winston, 1962, pp. 13–38; Albrecht Dürer, Princeton University Press, 1948; HANS KAUFFMANN: Dürers Nemesis, Berlin: De Gruyter, 1951; ELENA FILIPPI: «La Nemesi düreriana: Un manifesto della Translatio artium verso il Nord», in Zeitschrift für Kunstgeschichte, 84/1, 2021, https://doi.org/10.1515/ZKG-2021-1001.

[59]. Ibidem, pp. 41-43.

[60]. Cf. THÜRLEMANN, Dürers doppelter Blick, 2008; FELIX THÜRLEMANN: «Im Schlepptau des großen Glücks: die doppelte Mimesis bei Albrecht Dürer», in Manier – Manieren – Manierismen, 2003, pp. 17-39.

[61]. See first chapter of Philostratus‘s Imagines and 2.22 of Life of Apollonios of Tyana.

[62]. ERIKA RUMMEL, The Confessionalization of Humanism in Reformation Germany, Oxford University Press, 2000, pp. 51-52; cf. WERNER BELLARDI: Die Geschichte der ‘Christlichen Gemeinschaft’ in Strassburg (1546/1550), in Quellen und Forschungen zur Reformationsgeschichte, 18, 1934.

[63]. Cf. ANTHONY GOTTLIEB: The Dream of Reason: A History of Philosophy from the Greeks to the Renaissance, New York-London: W. W. Norton & Company, 2000, p. 85.

[64]. DISKIN CLAY, Paradosis and Suvival. Three Chapters in the History of Epicurean Philosophy, Ann Harbor: The University of Michigan Press, 1998, p. 135, n. 35; i.e., occultae res in Lucretius’s DRN I 145, tò ádēlon, pl. tà ádēla, in Epicurus’s Epistula ad Herodotum § 38-40.

[65]. Cf. THOMAS DACOSTA KAUFMANN: Arcimboldo. Visual Jokes, Natural History, and Still-Life Painting, Chicago/London: The University of Chicago Press, 2009, pp. 91-102.

[66]. NORBERT SCHNEIDER: Die antiklassische Kunst. Malerei des Manierismus in Italien, Münster: LIT Verlag, 2012, p. 273.

[67]. «The impression of hair is created by the protruding antlers of the deer and the horns of the rams. Only once does an animal’s body part replace the analogous one of a human being: the elephant, whose trunk is nestled in the formation of the cheeks, must lend its ear to the personification of the Earth. The overall impression of a face is only possible from one perspective». Translation by the author.