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Regarding the review of Maurice B. McNamee, S.J., Vested Angels: Eucharistic Allusions in Early Netherlandish Paintings (RQ 54.4.2 [2001] 1628-29).

Maurice B. McNamee's Fifth Chapter, Vested Angels: Eucharistic Allusions in Early Netherlandish Paintings (his publication reviewed by me in Renaissance Quarterly, LIV, No. 4.2, Winter 2001, page 1628), refers to Dr. Barbara Lane's work as a source for this section of his work. My earlier remarks in my review concerning her article were in no way whatever meant to reflect adversely on the originality of her achievements, nor to suggest in any way that she had engaged in either plagiarism or copyright infringement.

Art historians have been working in the same fundamental area -- that of Eucharistic import and reference -- for many, many years. This basic subject has been long tilled in the literature of early Netherlandish art history. Building on the labors of our elders, I have been lecturing and writing on the subject for over forty years, Doctors McNamee and Lane have also been devoting many decades to the same subject. Under the circumstances, it is inevitable that there will be similarities in our respective lectures and writings. My point in my review of Chapter V was only that it did not, in my opinion, break new ground in this area. I regret that anyone interpreted my remarks to mean more than this, since it was certainly not the intended import of the opinion I expressed in my review. -- Colin Eisler, Robert Lehman Professor of Fine Arts, New York University

* * * * *

In his review of Maurice B. McNamee's Vested Angels (Renaissance Quarterly, LIV, No. 4.2, Winter 2001), Colin Eisler states on page 1628 that Father McNamee's Chapter V

"is mostly taken from an essay he cites by Barbara Lane which, in turn, bares [sic] a remarkable resemblance to a lecture of the reviewer's which she audited but never cited."

Professor Eisler is under the mistaken impression that I audited one of his courses, although I never attended any of his classes either before or after the publication of the article to which he refers ("'Depositio et Elevatio': The Symbolism of the Seilern Triptych," Art Bulletin, LVII, 1975, pages 21-30). This article, which derives from a presentation that I gave at the Annual Meeting of the College Art Association in 1974, was completed several years before I met Professor Eisler. In fact, I was not in New York during the years of its preparation; I completed all of my doctoral course work at the University of Pennsylvania, and remained in Philadelphia after receiving my degree in 1970 until I moved to New York in 1976.

By claiming that he did not mean to suggest that I engaged in plagiarism, Professor Eisler refuses to acknowledge his mistake or to recognize the gravity of his statement that I "audited but never cited" his lecture. In fact, this statement implies that I plagiarized his ideas. This is simply not true. Confirmation of the facts and/or more careful editing could have prevented such a flagrant misrepresentation. -- Barbara G. Lane, City University of New York, Queens College and the Graduate Center
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Publication:Renaissance Quarterly
Article Type:Brief Article
Geographic Code:1USA
Date:Jun 22, 2002
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