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RAPHAEL AND THE PICTORIAL GENERATION OF MEANING

Referring to his studies of light as form and symbol in fifteenth-century painting, Millard Meiss offered the following confession as an art historian's credo: "I have regarded iconog raphy," he wrote in a footnote, "as responsive to form and as symbolic of deeper intrinsic meanings." Meiss recognized that meanings were inevitably bound up with form, that their very possibility in painting depended upon the creative decisions of the artist. Not casually did he entitle his volume of papers on the inter pretation of Renaissance art The Painter's Choice.