Thomas Aquinas triumphs over Averroes's doctrine of double truth, according to which religion and rationality can peacefully coexist without having to constantly challenge each other. Aquinas understands that such double-dipping undermines Revelation.
Uccello's landscape has a few highlights. I am very partial to that little hedge, or is it a lawn around the grotto? Still, the best part about the painting is not its composition, but the pigments, one of them to be exact, employed just for the mouth of the beast, for the name of that very special kind of red happens to be the Blood of the Dragon, and it was believed to be collected at the very site and at the moment of some dragon slaughter.
The North European tradition of multitude finds its lay incarnation in the cabinet of curiosity, as well as the art shop -- the two caves of wonders of modernity, neither completely rid of religious connotations, for the cluttered view may suggest Leviathan, the Prince of this world.
Jan Bruegel's Biblical allegory with its aesthetics of plenitude is equally impossible without the work of Pieter Bruegel and particularly Jheronimus Bosch, with his negative version of the same theology.
The tradition of such a group portrait in landscape with a pile of weapons on the right and a cornucopia of the meal on the left is incomprehensible outside the context of North European aesthetics of complexity. Adrien van der Venne, following in the steps of Bruegel, Bruegel in the steps of Bosch, has to be viewed as painter of allegory with a degree of sarcasm, sarcasm peculiar to that tradition.
Rembrandt's prophet is always a an aging thinker, a philosopher. We don't really know which book he is reading.
Willem Drost was one of Rembrandt's students whose work continues to be attributed to Rembrandt. No harm. Neither of them would probably object.
When an aging painter is building his flesh with layers of paint, he is going abreast the current of time -- repairing the old wall; and then many years after, it may appear that this seemingly futile effort still resists the decomposition of his body, if not some other substance, for example the soul.
There is an amorous couple by the window and the other one in the foreground, playing cards, that is the two are at the cards table, and it looks like the woman interrupts the game to show her hand to a young man standing next to her. This awkward youth must be Pieter de Hooch's idea of a prodigal son.
Paul Valery noticed that to Rembrandt all flesh is clay, unless turned into gold by light.