painter and see what the painter had seen, even if the painter was already dead.50 Hence, it might well be argued that Alberti’s rehabilitation of Narcissus laid the foundations of a globalized “policy of friendship” that enabled us to cultivate a cosmopolitan vision of “intersubjectivity.” Far from cultivating a self-enclosed solipsistic attitude, the new art of painting was designed to cross distances and to facilitate the encounter between different times and cultures. Cusa shared Alberti’s enthusiasm