![Corteo d’amore [Love procession], a tempera fragment that Everett Fahy attributes to Marco del Buono and Apollonio di Giovanni, c. 1440s. The piece is thought to be the front from a wooden cassone, or bridal chest. The figures are depicted with their hands in shackles for reasons unknown.
Giorgio Agamben writes (in “The Idea of the Enigma”):
One always and only fears one thing: the truth. Or more precisely, the representation we make of it. Fear is not, in fact, simply a lack of courage in the face of a truth that we more or less knowingly represent to ourselves: even prior to this is the fear already implicit in the fact that we have made to ourselves an image of the truth, that in any case we have had a name and a presentiment of it. It is this archaic fear, contained in every representation, that finds in the enigma both its expression and its antidote.](http://25.media.tumblr.com/tumblr_lypoi6vFE51qb9yj1o1_1280.jpg)
Corteo d’amore [Love procession], a tempera fragment that Everett Fahy attributes to Marco del Buono and Apollonio di Giovanni, c. 1440s. The piece is thought to be the front from a wooden cassone, or bridal chest. The figures are depicted with their hands in shackles for reasons unknown.
Giorgio Agamben writes (in “The Idea of the Enigma”):
One always and only fears one thing: the truth. Or more precisely, the representation we make of it. Fear is not, in fact, simply a lack of courage in the face of a truth that we more or less knowingly represent to ourselves: even prior to this is the fear already implicit in the fact that we have made to ourselves an image of the truth, that in any case we have had a name and a presentiment of it. It is this archaic fear, contained in every representation, that finds in the enigma both its expression and its antidote.
