 In characterizing the relation between ideas and sensations here, Malebranche relies partially on metaphors. He speaks of ‘projecting’ our sensations onto ideas and elsewhere he compares intelligible extension to a canvas onto which sensations are ‘painted’ (OC 6:78). Some commentators have attempted to unpack these metaphors and to offer a more specific account of the relation between ideas and sensations in sense perception. They attribute an ‘adverbial theory’ of sensation to Malebranche. Since sensations are nonrepresentational, they do not constitute an extra object of perception over and above the general idea of extension and the material objects they represent. In other words, we do not perceive sensations; we directly perceive ideas and via these ideas we indirectly perceive corporeal objects. Given this account of the intentionality of perception, sensations are best understood adverbially, that is, as a way of perceiving objects in the world. For example, when observing the setting sun, it would be most accurate to say not that one senses ‘red,’ but that one senses redly (see Jolley 2000, 37f; Nadler 1992, 64; Pyle 2003, 57, 63–5 and Radner 1978, 89). However, more recent discussions have cast serious doubts on whether Malebranche could be committed to an adverbial theory of sense perception, for a variety of different reasons (see Nolan 2012, Ott 2014, and Simmons 2009).