Educated speakers are notoriously unreliable in analyzing their own language. If Chrysostom weighs two competing interpretations, his conclusion should be valued as an important opinion and no more. If, on the other hand, he fails to address a linguistic problem because he does not appear to perceive a possible ambiguity, his silence is of the greatest value in helping us determine how Paul’s first readers were likely to have interpreted the text.
Moisés Silva, Philippians, 27.
"This picture establishes the direct relationship between vision and knowledge for which the Dominican Aquinas had argued in his Summa Theologica. Just as we still use the phrase "I see" to mean "I understand," For Aquinas the word visio meant more than just vision. "This term," he writes, "in view of the special nature and certitude of sight, is extended in common usage to the knowledge of all the senses and it is even made to include intellectual knowledge, as in Matthew 5:8: ‘Blessed are the pure in heart, for they shall see God.’" The Pisa altarpiece, like most Gothic images, was not considered primarily as a work of art by its contemporaries, but as something far more powerful and instrumental, because of its capacity not just to reflect the world, but to reshape it in God’s image."
-Michael Camille, Gothic Art – Glorious Visions, 25.
This brings us to the true function of decoration in a twelfth-century book. It was clearly not just because it was pretty. The twelfth century was an age which delighted in classification and ordering of knowledge. Its most admired writers, men like Peter Lombard and Gratian, arranged and shuffled information into order that was accessible and easy to use. Twelfth-century readers loved encyclopedias…Les us then consider book illumination in these terms. It suddenly becomes easy to understand. Initials mark the beginning of books or chapters (PL.85). They make a manuscript easy to use. It helps classify the priorities of the text…A newspaper does this today with headlines of different sizes…any reader of a modern newspaper will fiercely defend his choice of paper by praising the text, not the layout or illustrations. It is not surprising that the twelfth-century chroniclers from St. Albans, Lincoln, and Canterbury complimented the accuracy of manuscripts when what they meant was that they liked using them.
Christopher De Hamel, A History of Illuminated Manuscripts 99.