Fritz Saxl Indexing Mnemosyne—a Stratigraphy of the Warburg Institute Photographic Collection's System

This article was downloaded by: [Lund University Libraries] On: 20 August 2014, At: 00:06 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Visual Resources: An International Journal of Documentation Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/gvir20 (Photographic) Subject-matter: Fritz Saxl Indexing Mnemosyne—A Stratigraphy of the Warburg Institute Photographic Collection's System Katia Mazzucco Published online: 11 Aug 2014. To cite this article: Katia Mazzucco (2014) (Photographic) Subject-matter: Fritz Saxl Indexing Mnemosyne—A Stratigraphy of the Warburg Institute Photographic Collection's System, Visual Resources: An International Journal of Documentation, 30:3, 201-221, DOI: 10.1080/01973762.2014.936100 To link to this article: http://dx.doi.org/10.1080/01973762.2014.936100 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. 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Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/termsand-conditions (Photographic) Subject-matter: Fritz Saxl Indexing Mnemosyne—A Stratigraphy of the Warburg Institute Photographic Collection’s System Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Katia Mazzucco Aby Warburg (1866–1929) created his photographic collection in Hamburg as a research tool. As new documents now reveal, in the late 1920s, a first system, focused on “subject matter,” was planned for the Bildersammlung (image collection) of Warburg’s library. The origin of the current iconographic arrangement has been dated to after the Institute’s move from Hamburg to London in 1933. The new source discussed here adds some elements to this story: the first step of the iconographic turn that occurred in London was initially designed by Fritz Saxl (1890–1948) in Hamburg within the context of work for the atlas Mnemosyne. This paper discusses the role of Aby Warburg and Fritz Saxl in developing the Kulturwissenschaftliche Bibliothek Warburg as a dual entity library, with an image collection ideally conceived as a counterpart of the book collection. It also aims to raise some questions about the impact of photography on the praxis of description, interpretation, and classification of images as core questions of early “iconological studies.” Keywords: Visual Content Classification; Art Documentary Photography; Iconography; Aby M. Warburg (1866–1929); Fritz Saxl (1890–1948); Kulturwissenschaftliche Bibliothek Warburg; Mnemosyne Atlas The photographic collection of the Warburg Institute was first assembled as a personal research tool by Aby Warburg (1866–1929) during his student and scholarly career, and was turned into a proper visual resource during the 1930s, after the move of the library that he had founded from Hamburg to London in 1933. However, already in the late 1920s, Fritz Saxl (1890–1948), deputy director of the library, and its founder, Aby Warburg, discussed the question of the arrangement of the copious collection of photographs and slides within the space of the Kulturwissenschaftliche Bibliothek Warburg (KBW) in Hamburg. Their position regarding possible methods and systems of classification can be studied through working papers, mainly those included within the documentation about the library building completed in 1926. The question can be traced, as well, through the photographs themselves. As I argue, it is possible to demonstrate that the growth of the photographic collection in the late 1920s was directly connected with the project of the unfinished Visual Resources, Volume 30, Number 3, September 2014 ISSN 0197-3762 © 2014 Taylor & Francis http://dx.doi.org/10.1080/01973762.2014.936100 2 That same year. he gave the inaugural lecture of the academic term at the Institute. and for the installation of ad hoc exhibitions for seminars. or plates. comparing these and some other notes. Warburg was invited to read the discourse for the reopening of the Institute in its original quarters on October 15. or of an illustrated book (a festival book). more generally. 1927. Aby Warburg returned to Italy for the first time since the outbreak of World War I and his bout with mental illness. or other academic occasions. Photographic Stratigraphy In the autumn 1927. not always clear. the notes referring to the Tafeln can be placed next to the diagrams included in a folder labeled by Warburg “Medicean festivals at the Valois court on Brussels tapestries in the Uffizi Gallery. both possibly to be handled by Warburg and/or the participants. Palazzo Guadagni at 10 Piazza Santo Spirito. On October 29. no photographic documentation of this visual section of the lecture exist.”4 In addition. inserted between the introductory text and the conclusion. different versions of the fragmentary text. for publications. as those arranged by Warburg in his library in Hamburg for seminars or lectures. The Institute’s Jahresbericht of 1927/1928 includes a technical comment on the lecture: that the very important results of a twenty-year research project had been “presented in the form of a lecture with comprehensive pictorial material. This lecture was on the festivals depicted in the sixteenth-century Valois tapestries. Among the working papers of the event—which include preparatory notes. and. after spending four years in temporary quarters in the Uffizi buildings. and bibliographic material—we find pages with notes concerning “panels” (Tafeln). one of the art treasures held at the Uffizi Gallery. the Kunsthistorisches Institut of Florence was relocated to its former venue.202 Classifying Content on Paper (ca.1 The visual atlas of the Mnemosyne itself was composed in the provisional format of a photographic exhibition. between Warburg and Saxl on the Mnemosyne. privately printed for display in front of an audience. or as large-size plates. with one of the peculiar characteristics of his visual approach to “cultural studies” (Kulturwissenschaft): the practice of employing photography for scientific disseminations. lectures.3 As far as we know and based on documents currently identified. arranged ad hoc for the occasion. In order to have an idea of the display of pictures on the panels. Warburg’s last work. we can deduce that the visual section of the lecture on the Valois tapestries included objects of different formats: some of the so-called plates—one could call them visual-stations of the lecture—consisted of a single image.”6 . The Tafeln can be interpreted as panels or boards of a provisional photographic exhibition. I present here several new documents on classifying content that emerged in relation to one of these scholarly dissemination events. lecture on the 29th of October 1927 at the Kunsthistorisches Institut / List of the pictures exhibited. This Florentine event constituted the first occasion for Warburg to introduce an important practical aspect of his method of “art-historical cultural studies” (kunstgeschichtliches Kulturwissenschaft)5: the extensive and original recourse to photography for scholarly dissemination. I have selected and extracted other information from the material concerning the dialogue. 1900–1950) Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Mnemosyne. Engraving in Baltasar de Beaujoyeulx. & Mamert Patisson. 4r. Among some of the original photographs of this research on the Valois tapestries.7 Warburg mentioned the ballet book. part of the scenography and machinery of the display is visible: a fountain. The photograph reproduces an engraving on copper by Jacques Patin (1532–1587). and it represents a visual document of the history of performing arts: these characteristics represent an interesting complication in the identification of work type. still preserved within the Warburg Institute Photographic Collection in London. f. and subject of the image. the entertainment that was staged in 1581 in Paris for Caterina de’ Medici (1519–1589) and the Valois court of France. In it we can see several groups of people dressed in late sixteenth-century court clothing.8 This photograph—though it is not the actual one exhibited—represents a distinguishing example in that it bears important metadata testifying to a liminal position between different systems of classification for art documentary photographs —one based on work type/ style/ topography. Circe’s . back and right sides. medium. sitting and standing within a theatrical scene (Figure 1). Robert Ballard. is one in a series taken from the Balet de la Royne.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Mazzucco: (Photographic) Subject-matter 203 Figure 1 “Figure de la Salle” of the Théâtre du Petit Bourbon. as comparative material. Balet comique de la royne. and this image is included in the diagrams of the pictures exhibited in the visual portion of his lecture.9 Furthermore. faict aux nopces de Monsieur le duc de Joyeuse & Madamoyselle de Vaudemont sa soeur (Paris: par Adrian le Roy. and published in 1582. 1582). On the left. this is the photograph of a print originally included in a book. and the other based on subjects. with the favorite of King Henry III. sister of the Queen Louise. against whom the king of France is aided by the Olympian deities and cosmic forces. he introduces the entertainment while looking for the king’s help (portrayed from the back. and Pan playing the panpipe under the trees.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 204 Classifying Content on Paper (ca. palace. who has escaped from Circe’s palace. In the middle. and her enchanted beasts. The engraving shows the salle of the Théâtre du Petit Bourbon as prepared for the Balet that was performed for the marriage of Marguerite de Lorraine-Vaudemont (1564– 1625). London. . at that very place and occasion. In the prologue depicted in the print. 1900–1950) Figure 2 Verso of mount of the photograph La salle of the Théâtre du Petit Bourbon. The Warburg Institute Photographic Collection. a dancer is depicted: he is the gentilhome. The allegory of Virtues and Vices is represented through the myth of Circe and her spells. The allegory has been interpreted as homage to the court and as a mirror of the current religious and political situation. in the folder “Ballet Comique de la Reine. the duc Anne de Jouyeuse (1560/1561–1587). Myth and deities on the stage reflect the knowledge and approach to the classics of the period. in the first row) against the sorceress. The Balet represents one of the earliest historical examples of a consistent dance play. 1581.” showing stamped and written metadata. Warburg stressed one of the goals of his research: to grasp.”10 From these fragments. and it is the same hand that annotated the so-called first version of the visual atlas Mnemosyne in May 1928. choreographer. that. 1581. “Baltazarino. a pupil of Saxl’s. to be compared and recollected with other passages from the lecture and with different documentary materials. and director of the ballet—is probably that of Lothar Freund (1903–1941). The photograph is marked “116 Heilwigstrasse. the year of the Warburg Institute’s move to its current location. we denote with the keyword (Schlagwort) Baroque” as a “natural necessity historically determined” (geschichtlich-bedingte Naturnotwendigkeit). This is an interpretation of archival stratification. following the Institute’s move to London. Prägwerk) of active life (life in motion.” in a folder labeled “Ballet Comique de la Reine. and apart from a card index. it is not possible to attach all of these data to each single photograph. . The current main category —“Social Life”—is printed in block letters using one of the old stamps still preserved at the Warburg Institute Photographic Collection. Duplicates of the picture can be arranged within different categories of the system—the latter possibility being viable only in the case of an arrangement. and it is in English. .” which tells us that it was stamped after the construction of the building for the Warburg Bibliothek at that address. as much as possible. The hand that wrote with pencil the name “Beauylleux”—[sic] Baltasar de Beaujoyeulx (Baldassarre di Belgioioso. composer. and thus after 1926. therefore it was printed after 1933. . on his intellectual indebtedness to historian of culture and art Jacob Burckhardt and his studies on “society and festivals. . after 1958. In classifying images according to a system with given rules. This point had been discussed through a visual series on the French festivals à la antique.” d. The cataloger selects information and then constructs crossreferences.” and on the art of the Baroque. reproducing the prologue print from the Balet book. 1587). The English stamp “University of London .” the “phenomenon of the growing process . according to a “comparative Psychology of Style.” On the verso of this photograph. physically reproduces the conceptual system. we can read some of the German and English layers of the catalog-stratigraphy (Figure 2).Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Mazzucco: (Photographic) Subject-matter 205 The series of photographs to which this one belongs is filed in the Warburg Photographic Collection in the section “Social Life. The scholar aimed therefore to shed light on one peculiar aspect of the development of the Baroque. we may draw some knowledge of Warburg’s elaboration of the concept of style. defined by Warburg as the “attempt to display genetically (genetisch zu plazieren) in front of the audience’s eyes” the images. Woburn Square” tells us that the photograph was marked a second time. a process of data accumulation which is usually a-systematic and/or unintentional. as in the case of the Warburg Institute collections (books and images). . working particularly on photographs and slides. and finally. we can look with new eyes at the keyword Barock on the back of the photograph. who was assistant at the library beginning in 1928. In the final lines of his lecture on the Valois tapestries. the one identified with the “isolation of the expressive values from the imprinting (coining work. bewegtes Leben). The “keyword” (Schlagwort) includes three terms “Festivals / Baroque / France” (Festwesen / Barock / Frankreich). . which was perfectly ordered and presented photographs mounted on large cardboard. when and if completed. It would have provided a collection of tools (both visual and verbal) or a portable laboratory for the scholar of “art historical cultural studies” (kunstgeschichtliches Kulturwissenschaft). and most of the time of the same objects: photographs collected.206 Classifying Content on Paper (ca. Saxl pointed out the Library of the Zentralinstitut für Erziehung (Central Institute .” and the “sixteenth-century dancer” secondary subjects of this picture? Are the content themes (classical [Gods and Myths] and contemporary persons [sixteenth-century dancer. Downloaded by [Lund University Libraries] at 00:06 20 August 2014 . reporting about a trip to Berlin and about viewing recent library buildings and libraries systems. As for arrangement methods and shelf-marks. two volumes of text. Social Life]) depicted according to formal motifs of sixteenth-century French visual culture? Are they literary figures? Considering the interpretations of the entertainment. and the many provisional layouts of the draft-plates of the atlas. The move of the collections from the library rooms of Warburg’s home to the new space was then the occasion for a systematic rearrangement of both the book and image collections. And the photographic collection was to be a resource for the library. a massive bibliography (a version of the KBW catalog). Planning the process for this work in progress demanded a discussion on classification. the panels for temporary installations.” “Pan. all of the same size. . for instance. they were both composed of the same type of materials. the quality of the “image collection” (Bildersammlung) of the Kunstgewerbe Museum (Museum of Applied Art). The two projects overlapped in their material aspect. is it the allegorical theme of the play that should be signaled? Could the topographic keyword “France” carry also a reference to the symbolical interpretation of the Balet content? Can we consider “Festivals” as the work type or medium of this image? Are “copper print” and “illustrated (festival) book” the secondary and main work types? Is “Baroque” a chronological stylistic keyword or rather an expressional and morphological one? Indexing Mnemosyne in 1927 Mnemosyne would have been. . and framed to fit the publications of the library. in their turn. a scientific work composed of a visual atlas. the main subject? Are “Circe. The project of the visual atlas had significantly increased the photographic collection. Fritz Saxl stressed. In January 1925. cut. enlarged. The new building for the Bibliothek Warburg was built between 1925 and 1926. . that is. and possibly the reproductions of full original documents. duplicated. created the urgency for systematic cataloging and arranging the photographs and slides. Is the title of the book. organized according to the library system. 1900–1950) The example provided by this photograph allows us to think about thematic ordering and to formulate questions about description and levels of interpretation of the image captured and printed on this picture: . and the name of the entertainment. and the new acquisitions. as to the lecture on the Valois tapestries mentioned above.” “Costumes.” “Moresca”) and “Parades” (Umzüge: ex. and therefore to the rearrangement of collections in the new building. at the top floor.” “Duel”.13 The building of the Warburg Bibliothek was planned with a great reading and lecture room—the double-high rear section of the building—where the reference library was then located. The third subcategory of the section “Action” is titled “Morphology of Social Life” (Morphologie des soziale Lebens) and includes two further subcategories. and we know that while Warburg was corresponding with the architect during the completion of the library building. According to this scheme.” includes the subcategory “Applied Arts” (Kunstgewerbe). “Stage and Image” (Bühne und Bild)—theater subjects such as “Orpheus” and “Medea. the latter including “Heraldic.” “Festivals” (Festwesen. Saxl mentioned the new lamp for the enlarger: thanks to the instruments of its photographic laboratory.” Within this plan for the image collection. dating back to around 1926–1927. within which each content title was card-indexed many times. the structure of the book collection remained more or less the same. called the “tower. However. was probably a general scheme meant to present the setting of the KBW field of studies and specific resources. the KBW could manipulate pictures to fit different circumstances and needs. we do not find a formal recall to morphology. the first section. the system included some .” The morphological view applied to the study of social phenomena is particularly interesting here if connected to the question of the denotative meaning of works of applied art and festivals.14 The document. lectures. Furthermore.” and “Theatre. though in a different disposition (Aufstellung). and “orientation” (Orientierung) of readers presented not only to a traditional catalog. the image collection (Bildersammlung) was organized in the following four sections: Image—Word and Image—Orientation and Image— Action and Image. As I have discuss elsewhere. Despite the difficulties of the moves and relocations in different places in London. The section “Action and Image” includes three subcategories: “Elementary forms of social action through the imprinting power of image” (Elementarformen der sozialen Handlung vor Bildprägender Kraft)—such as “Hunting. “nature of festival”). he also discussed the question of racks for images (Bildergestelle) that would be placed in the reading room:12 these were the great wooden panels then used for exposing both photographs and books. on occasion of seminars.15 For example.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Mazzucco: (Photographic) Subject-matter 207 for Education) and its double system: arrangement according to accessions. or exhibitions.16 According to the same plan. on one of the first pages of the work diary inaugurated with the new building.11 The question of a system for arranging and occasionally displaying images also had a practical aspect. “Symbolic acts of festive active life” (symbolische Akte des festlich bewegten Lebens)—such as “Plays” (Spiele: ex. “Triumph”). a document reproduced in a glass slide brings out the existence of a plan for the library system organized in four main sections. “Sword-dance. but also to a refined catalog of keywords (Schlagwortskatalog). and ascribable to a systematization by Saxl following Warburg’s formulations. the book collection was organized in the following four sections: Image (Bild)—Orientation (Orientierung)—Word (Wort)—Action (Handlung). “Melodrama and Opera.” there were four stockrooms for the books. “Image. possibly printed as a leaflet. In the four-level front section of the building. It is documented only in a few folders. and spread by the production of playing cards such as the Tarots. on deep layers of the system’s “stratigraphy. It was only partially applied to the practical classification of photographs. “lapidaries” (Loosbücher—books collecting materials for divination). 1465. Arrangement of photographs of the “Tarots. ca. and lower right. The composition was annotated by Gertrud Bing according to Warburg’s original formulations: “sharing out and making manageable” (Aufteilung und Handbarmachung). Photograph: London. dedicated to the Tarots (Figure 3). within the subcategory “magic practice and divination” (magische Praktik und Divination). patterns—of transmission: “mythological and astrological manuscripts. handled.” This plan appears as having been traced ideally specular to the one devised for the library. For instance. arranged. Andrea Mantegna’s Parnassus. This view on the material aspect of meaningful images is visualized in one of the unfinished plates for the atlas. Warburg Institute Archive.” by the Master of the Tarots. 1900–1950) Figure 3 Detail of plate 50/51 for Aby Warburg’s Mnemosyne. and “playing cards” (Spielkarte). 1497. ca. The keyword Spielkarte. would the picture of the French Balet have been filed within the .17 a definition that we may apply to the visual content collected. Within the first section “Image. and their system of illustrations with subjects representing the humanistic cosmos.” “graphic arts and book illustration. series E. and Minerva Expelling the Vices from the Garden of Virtue. This Bildersammlung plan was not followed when the Warburg Institute Photographic Collection was organized iconographically in London in the 1930s. 1500. in fact. identified both the tradition of cards practically used for divination. It had only partial correspondence to the Schlagwort stamps we still find on the oldest photographs.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 208 Classifying Content on Paper (ca.” Also. the section “Orientation and Image” includes.” we find the subcategory “materials on the history of ancient pictorial tradition” (Materialien zur Geschichte der antiken Bildtradition). which includes three specific kinds of media—and.” “cassone. medium-specific—so to speak—subcategories. we know that many of the young scholars. in different formats? However. or at least planned.20 The first group “reformulations” includes ancient gods and deities.” or rather “graphic arts and book illustration. and urgent. and ancient heroes. Breitenbach.” “Human sacrifice—sacrifice of Iphigenia”—and gestures . secretary and factotum of the library. in both of them. and the same was true for the slides: the risk was going back to chaos if the work did not continue with the same method and order. new evidence suggests that some nuclei of the current system of the collection were already organized.” section “Image”? Or. according to the instructions of Edgar Breitenbach (1903– 1977). a pupil of Erwin Panofsky’s. It is evidently a draft or more likely a scheme: it does not include the canonical system of the Olympians (Jupiter is missing. was responsible for the arrangement of the “systematic section. such as Hercules killing the boar or resting. such as Apollo as an archer or as Musagetes.” and had been sent to London to acquire pictures of astrological and mythological manuscripts. was working. Saxl wrote a report for him in a letter on the work in progress at the KBW. nor does it include a range of heroes and personifications of the classical tradition—Hercules and Fortuna are the only examples represented. Yet.21 It is organized according to subcategories of iconographic subjects connected to figures of the ancient tradition—such as “Pain— Laocoon” (the ancient statue depicting Laocoon and his sons. while Hans Meyer (1900–1941)—young philologist. Saxl describes an arrangement of the estimated 550 images according to three main groups: 1) The reformulation (Gestaltwandel) of the ancient gods as Olympians and demons in the Middle Ages and the restitution (Restitution) of their ancient forms in the Renaissance 2) Tradition and reception (Rezeption) of the ancient Pathos formulae in the Middle Ages and in the Renaissance 3) Transformation (Formwandel) of individual ancient figures (antiker Gestalten) into pictorial forms (Bildformen) in Middle Ages and Renaissance. library assistant. and secretaries were engaged with the photographic collection: Franz Alber. The photographic collection was growing so quickly that the special drawers would have been filled very soon. for the same purpose. for instance). in the Vatican Museums) or “Infanticide—Medea.” section “Image and action. library assistants. So the work for the image collection was in progress.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Mazzucco: (Photographic) Subject-matter 209 subcategory “Stage and Image. and he was acquiring a good knowledge of the library’s image material (Abbildungsmaterial). on arranging photographs. In November 1927.18 Thanks to this report. and collaborator on the Kulturwissenschaftliche Bibliographie zum Nachleben der Antike edited by the library—19went to Munich. which was elaborated by Warburg in his study on Albrecht Dürer. even though in a different context of work: the work for the composition of the Mnemosyne. also educated in library science. Fortuna with the wheel or with the sail. The second group is a schematization of the theory of the “Pathos formulae” (Pathosformeln) and of their “posthumous life” (Nachleben). the main subject of the report is the work on the atlas. while Warburg was in Italy for his lecture and visit in Florence. the composition of single plates. namely to a kind of extra-iconographic field of analysis. This scheme seems rather to be Fritz Saxl’s programmatic index for the contents of the atlas—those already collected and also those yet to be completed. or flying and progressing figures. or better.” The third group includes both figures and scene of the classical tradition and their transformations into “pictorial forms” and themes during the course of the medieval and into Renaissance tradition. such as the sarcophagi depicting the myth of Alcestis). In fact.” “tradition. Here we have a clearer iconographic approach in that.” “reception. a content category applied to a non-figure genre. the index is systematically devoted to works of visual art in their pure visual qualities. as inspired by ancient models. or philosophy of history. the historical conception. for example. such as the figure of the “Nymph” and her different subcategories.23 Nor does it have correspondences with the earlier two versions of the atlas—recorded in May 1928 and later in September 1928. including the question of work type. and have been partially incorporated with their old folders in the current section “Gestures” (Figure 4). such as the angel. and organized according to a special point of view on dynamics of the classical tradition—namely grasped through the terms “reformulation. this index includes an early formulation of two of the current sections of the Warburg Photographic Collection: the first main group (reformulations and restitutions) can be traced into the current section “Gods and Myths”. as sketches for the plates of the atlas of Mnemosyne. or “Mourning/the dead Christ. depicting the last sequence of pictures composed by Warburg on large scale panels.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 210 Classifying Content on Paper (ca. the epiphany in the shape of an angel. And we also find here a schematization of Warburg’s inventions. And it also seems to be Saxl’s vision of what the visual atlas should have included and should have been. 1900–1950) connected to specific formulations—such as “Dying/Tornabuoni—Alcestis” (the marble relief attributed to Andrea Verrocchio depicting death during childbirth in 1477 of Francesca Tornabuoni. the strict antiquity/Middle Ages/Renaissance dynamic does not reflect the conceptual content of the Mnemosyne project. or bearing figures. will therefore be rearranged and transformed into the “Saxl-based” iconographic system of some sections of the .” within the context of ancient private tombs (second main group). which includes dancing figures. it reflects schematically Saxl’s thought on the dynamics of cultural transmission. which are the bases of the whole work. for instance. including photographs and work papers like this index.22 This structure has almost no correspondences with what is currently known and identified as the visual atlas—based on the recently published sequence of photographs taken in 1929. a subcategory. such as Judith. Yet. excerpted from their context. in connection with two special examples: the Pathos formula of “Pain.” as Laocoon.” And we have only two concessions to non-subject matters.” “restitution. we read interesting reformulations of Warburg’s terms: “landscape formulae” (third group). including. in different shapes and work types. such as the “Nymph” (Ninfa). such as the girl carrying a basket. in the Bargello Museum. Some material of the unfinished project for the visual atlas of the Mnemosyne. the second main group (tradition and reception of Pathos formulae) together with the third (transformation of ancient figures. In this index.” or “transformation. for instance. and that of “Mourning. such as the Ninfa) can be traced. Panofsky’s system was first presented at the Kant-Gesellschaft in Kiel on May 20. (What) Classification of Pictures: Panofsky and Saxl (1931–1955) The main source typically referred to as a theory for iconographic classification is the famous three-level scheme of interpretation of works of visual art by Erwin Panofsky (1892–1968). The task of the author therefore is not to examine the problems of such interpretative work systematically but rather to exemplify its methodological consequences. the essay “explores the principles that guide an art historian particularly interested in iconographic interpretation (ikonografisches Deutungsarbeit) in his practical work.” London.”24 As Panofsky explains in the first footnote. thanks to the work of Rudolf Wittkower (1901–1971).” The object of the first level of interpretation was here defined as “sense of the phenomenon” (Phänomensinn)—to be distinguished in factual and expressive sense —interpreted through the “subjective source” of the “vital experience of being” (vitale Daseinserfahrung) and through the “objective corrective” of the history of . and then published in 1932 in Germany. “On the Problem of Describing and Interpreting the Works of Visual Art. the curator of the collection beginning in 1933. as a final overview of a theoretical essay. (Which) Science for Images. then later systematically implemented in London. Warburg Institute Photographic Collection. 1931.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Mazzucco: (Photographic) Subject-matter 211 Figure 4 Folder “Flucht”/ “Fleeing. Photographic Collection. 32 Within the text of the lecture.29 The main question discussed in the essay. identification of “pure forms” (natural objects. third level —“iconographical interpretation in a deeper sense”—ascertaining the “intrinsic meaning or content” (“symbolical values”) through the “synthetic intuition” (“essential tendencies of the human mind. we may trace adaptations of Warburg’s inventions: above all. which were excerpted from the theory and the history of art considered. which is the principle of disjunction of classical form and content. Panofsky had already published an essay formulating the theoretical principles for “Art studies” (Kunstwissenschaft). through a pure morphological and stylistic operation. and as a science describing the sensible quality of works of art.30 The text was meant to “demonstrate” the methods of research developed by Aby Warburg and his followers. seen through the “worldview Ur-behavior” (weltanschauliches Urverhalten) and through “general intellectual history.31 But. the scheme was again reformulated as the first chapter of Meaning in the Visual Arts:26 the second level was defined as “iconographical analysis” and the third level became that of “iconological interpretation. “allegories” (combination of personifications or symbols) through the “knowledge of literary sources.” identification of “images” (personifications or symbols). interpreted through “literary knowledge” and through the corrective of the “history of types. The result of the interconnection of the two was defined as a “discipline of interpretation aimed at understanding the Kunstwollen.” or “artistic formulae by which … [physical] qualities [.25 The reformulation could be shown schematically as follows: first level—“pre-iconographical description”—“primary or natural subject matter” (factual. 1900–1950) styles. events. and through the “history of cultural symptoms or symbols.” and through the “controlling principle” of the “history of style”.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 212 Classifying Content on Paper (ca. expressional). as a system of concepts for the formulation of artistic problems.” The object of the third level was the “documentary sense / essential sense” (Dokumentsinn / Wesensinn).” One focus of the critical reading of Panofsky’s scheme in its most diffuse 1955 version has been the problematic reformulation in English of a theory based on a German philosophical lexicon: Sinn—pointing at the core question—which becomes “subject matter. second level—“iconographical analysis in a narrower sense”—“secondary or conventional subject matter.” In 1955.” In 1939. “formulae of classical art.” and through the “history of types”. emotions] and passions .” Also under discussion was the reformulation of the field of competencies and even the name of this hermeneutic of images: iconography and iconology. recognition of “artistic-motifs” through the “equipment” of “practical experience. this demonstration represents more of a transformation than an application of the Warburg approach. as has been noted. would later be developed by Panofsky in Renaissance and Renascences. expressional qualities).” Weltanschauung). respectively.27 In 1925.” connection of “artistic motifs” with “themes or concepts. The object of the second level of interpretation was the “sense of meaning” (Bedeutungssinn). “stories” (allegorical idea as superimposed meaning). Pathosformeln. this scheme was reformulated and discussed in English in “Introductory” in Studies in Iconology.”28 Another reference point along these lines is the lecture on “Classical Mythology in Mediaeval Art” delivered at the Department of Fine Arts at Princeton University and published in 1933 by Panofsky and Saxl. the first two volumes of which were published by Teubner in Berlin in 1932. after Warburg’s death.” Saxl discussed some of the same concepts that can be noticed in the 1927 report as well as in the Princeton lecture. in the 1931 lecture for the Kant-Gesellschaft—that was largely adopted in this essay: these German and English formulations are more or less coincidental.” “assimilation. and Renaissance works of art. the panels show regular “disjunction-rows” of ancient.37 The photographs and the work on the system of the photographic collection were also related to the 1931 lecture. for Fritz Saxl’s lecture “Die Ausdrucksgebärden der bildenden Kunst.34 And we can read as well some of the crucial terms of this English lexicon adopted by Panofsky in his iconological essays to come.” So for the expression “subject matter”—Sinn.”35 In those same years. namely Fritz Saxl.” “revival. for which Saxl displayed the very exemplification of his “atlas of gestures”: here.” and “Conclamatio” (L) and “die tragische Maske in der Physiognomik des Schreins” (R).” “reintegration. In this.” “Klage.”33 while the sphere of meaning of the expression bewegten Lebens could be recalled by the “rehabilitation or even rediscovery of a purely ‘human’ vitality” concerning the sphere of social life and its representation. as proven by the reuse of the 1926–1927 plan—from the above-mentioned leaflet—for a text presenting a different arrangement of the library around 1931 to 1932. all of the pictures are framed on cardboard and show decontextualized . Saxl was working on the posthumous Gesammelte Schriften of the scholar. in the Kulturwissenschaftliche Bibliothek Warburg reading room. had been expressed in the classical style.” 1931.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Mazzucco: (Photographic) Subject-matter 213 Figure 5 Boards with photographs displaying “Mänade und Satyr. he was still working on the disposition (Aufstellung) for the four sections of the book and image collections. Hamburg. and should be contextualised in the “practical experience of images and books as structured by the library in which (Panofsky) mainly worked in Hamburg and in relation to his great collaborator of the period. Warburg Institute Archive. medieval.36 In 1931. “Rebirth.” and “transformation” indicate different renascences and Renaissance phenomena—the latter as a “reunion of classical thought and feeling with classical form and expression. for his lecture on “The Expressive Gestures in Fine Arts. Photographs: London. in the Netherlands. or “idealism” of Iconclass. Few are useful. originally developed as card indexes associated with paper reproductions. the material aspect of historical and intellectual context of production. … There is. what has been the impact of photography on the praxis of description. that is. This is indeed an example of an experiment of what would later be called the “Hamburg school” of iconography associated with a peculiar practice of employing photography—namely. Heckscher. linked with the development of automation and visual databases. the denotative and functional meaning of the object. … Many a learned institution has launched a card-file system—most bibliographical or lexicographical in nature. and far from the digital systems to come. however. developed by Henri van de Waal (1910–1972) in Leiden. and Iconclass. the auspice of a compromise between the great virtues of the two has emerged. 1900–1950) details of the works of art recorded. I will conclude by raising some issues on the question of classification of visual content. on different levels. the indissoluble link forged between the subject of a work of art and its design. namely the Index of Christian Art. most of the works are exhibited and interpreted as examples of the dynamics of disjunction of form and content. and with the shift from analog to digital photography. as well as methodological visual taxonomy. alternatively.38 In comparing the two main iconographic systems of comprehensive iconographic classification. an index. there is the “ad hoc hybridity and Anglo-Saxon positivism.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 214 Classifying Content on Paper (ca. Esmeijer and William S. and of the restitution of classical forms (Figure 5). or in some specific respect even presupposed. show us how far the creation of standards of visual quality and of description are carried forward in intellectual projects. or displayed for exhibition and organized according to a given idea of the works of art recorded—as visual interpretations. diffusion. One of the questions at stake is the meaning of the nonpictorial qualities of a work of art: the work type. in the early 1950s. interpretation. Anna C. and acquisition. in visual terms? Given the interpretative values of framing. One is relatively old and time-honoured: the Index rerum et nominum. another type: the index that precedes the work-to-come or that may be an end in itself. or ekphrasis. fewer have managed to survive. How far was “the task of exemplifying the methodological consequences of such interpretative work” supported. The great classifying projects of the past century and of the last decades.40 . stated: There are two types of indexes. on the basis of materials discussed here.” or “behaviorism” of the Index. On the one hand. interpretative and rhetorical display of pictures. an archive. of the work of art? I will not formulate any conclusive points. the “logic consistency and comprehensiveness” in approaching subject matter. on the other. and details selected. in a review of the Index of Christian Art. may we not see the photographs—arranged within the folders of a collection. multiple shots. and classification of images as core questions of the early iconographic and/or iconological studies? Are not photographs themselves descriptions of the work of art. by the practice of art documentary photography? In other words.39 Focusing on the indexing practice at the basis of these kinds of systems. founded by Charles Rufus Morey (1877–1955) at Princeton University in 1917. the scholar William Heckscher (1904–1999). in the first decades of the twentieth century. the text comes back to the Hamburg school.43 The case presented above could then be discussed within the framework of competencies of library science. When further scrutinized. successfully applied analog photography to the documentation of works of art. was a second generation hagiographer of iconography.” “symbolical meaning. and has been a post-doctoral fellow at the IUAV University in Venice (2008–2009). on the position of photography between the visual sphere and the verbal analytical approach to images. in a wider perspective. and. She holds a PhD in art history and classical tradition from the University of Siena (2006). not only in medieval art. theory of visual documentation. KATIA MAZZUCCO is a researcher specializing in history of art and photography. of epistemology. the physical separation and different arrangement of cards (verbal data arranged according to iconography) from photographs (visual data arranged according to material and/or technique and further subdivided by their current location)—while most of the time. art historical practices of analog photographs.” “Nature. and at the Warburg Institute in London (2010). “Classifying Content Photographic Collections and Theories of Thematic Ordering. I would extend my gratitude for English editing to Henry Kerney and Christine Sundt. I would like to thank the academic staff of the Warburg Institute Photographic Collection and Archive and of the Photothek of the Kunsthistorisches Insitut in Florenz for support and valuable comments on research during my visits. in addiction to “Scenes. post-doctoral short-term fellow at the Photothek of the Kunsthistorisches Institut in Florenz. who. a reductive treatment of verbal data (as for instance inscriptions) integrated into the images. the question represents a point of view. that of the “Pathos formulae” (“rhetorical forms … which keep their freshness through the ages” and their range of meaning).”42 Second. which might include. may contribute to redefining the nature or essence of photography. as something in between different formats of sediments of vision. in the reviewers’ conclusion. In their turn. within the disciplinary context of art history. word and image are “closely allied.” also a Warburgian invention. in their different methodological declinations. and a hermeneutical device for images. The work with Clare Hills Nova and Jas´ Elsner for the publication of my last paper on this topic has been extremely valuable and thought provoking as well as the discussion with all the participants at the conference and round table. Furthermore. First. 2013. if not inseparable. underlining the possibility of a more comprehensive panorama of content categories.” “Figures.” held at the Warburg Institute on May 20.44 Acknowledgments This paper collects some results of a research-in-progress essay on the history of the Warburg Institute Photographic Collection.41 The text of the review helps as well in identifying at least two critical questions in the early praxis of classification of visual content.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Mazzucco: (Photographic) Subject-matter 215 One of the authors of this quote.” “Objects. which also coincided with the early debate on photographic reproduction of works of art.” “Personifications of abstract concepts. She has been British Academy . Within this critical frame are certainly some illustrious members of the “Hamburg School” of art history. 2005). WIA III. Introductory text and conclusion. no. 1885–1918 (Durham. Warburg Institute Archive (WIA) III. WIA I. 3 (September 2013): 147–50. 1582).6.6. May 21.108.image. correspondence with Langmaak. as well as pictures of the diagrams. WIA III.1. Davide Stimilli (Vicenza: Neri Pozza.” University of Siena. 118: “Über die Methode einer kunstgeschichtlichen Kulturwissenschaft.3.98.4. 1925.r=. see among her recent contributions: Elizabeth Edwards.108. In a wider perspective.” Kritische Berichte 7 (1979): 5–14. Aby Warburg. General Correspondence (GC). 14–43. This following might be read as an account of photo-archival research experience. Bilderreihen. Bilderdemonstration. WIA III.15. see: Michael Diers. Bing. 1900–1950) Visiting Scholar 2011–2012 and she is currently working on restoration and photography at the Kunsthistorisches Institut in Florenz thanks the support of the Istituto Veneto per i Beni Culturali di Venezia “Progetto Europa Restauro. On “objectuality” of photographs and historical studies.1. Balet comique de la royne. are included in Aby Warburg. Karen Michels and Charlotte Schoell-Glass (Berlin: Akademie Verlag.216 Classifying Content on Paper (ca. “Kreuzlingen Passion. Bilderatlas: Una cronologia documentaria del progetto warburghiano. 4–6 (2006–2008): 139–203 (rev.98. and from my articles: “Mnemosyne.6. WIA III. June 2006. Among the essays on Warburg’s mental illness and his years in the clinic in Kreuzlingen directed by Ludwig Binswanger. Working diaries) 1. nos. I would here recall the issues raised by Christine L.12. 29. Ludwig Binswanger and Aby Warburg. The Camera as Historian: Amateur Photographers and Historical Imagination. ed. Uwe Fleckner and Isabella Woldt (Berlin: Akademie Verlag.bnf.langEN. WIA III. “Tagebücher der KBW” (TB. faict aux nopces de Monsieur le duc de Joyeuse & Madamoyselle de Vaudemont sa soeur (Paris: par Adrian le Roy. Gesammelte Schriften—Studienausgabe: Bilderreihen und Ausstellungen.3. 17. WIA III. Jahresbericht (1927–1928): 3–4. all information on the Kulturwissenschaftliche Bibliothek Warburg (KBW) series of images and exhibitions (1925–1943) and on the visual atlas Mnemosyne are taken from my PhD thesis “Il progetto Mnemosyne di Aby Warburg. Sundt in “Materials and Objects: Challenging Art History. NC: Duke University Press.” Quaderni del Centro Warburg Italia III.” Downloaded by [Lund University Libraries] at 00:06 20 August 2014 1 2 3 4 5 6 7 8 9 10 11 12 13 Unless otherwise noted. cf. & Mamert Patisson. TB 9.” Kunsthistorisches Institut in Florenz. these arguments also touch the question of documentary value of images (or visual objects) and the historical method.12.1926. ed. Osservazioni sul montaggio del libro Mnemosyne di Aby Warburg. 1926. Saxl. 67–80.1. “Quarant’anni di bibliofilia e iconofilia. no.3.fr/ark:/ 12148/btv1b86083002/f9. Baltasar de Beaujoyeulx. 2–3 (2011): 120–42). WIA. 2001). Aby Warburg to Gerhard Langmaak.” Konteksty LXV.113.4. 2012). La guarigione infinita: Storia clinica di Aby Warburg. . report on his trip to Berlin. 1929.” Visual Resources 29. September 1.15. September 9. Robert Ballard. 235–73. 81. available online at http://gallica. WIA I 4.” Rivista di Storia della Filosofia 2 (2011): 303–38. ed.1. “Mnemosyne: Chronologiczna prezentacja dokumentów zwia˛ zanych z Atlasem Warburga. working papers for a seminar. November 1927–February 1928. 2012). il nome della memoria. cf.2 Fritz Saxl. Gesammelte Schriften—Studienausgabe: Tagebücher der KBW. January 13–15. ” Art Libraries Journal 38. trans. WIA Ia 1. Studies in Iconology: Humanistic Themes in the Art of the Renaissance (New York: Oxford University Press. 3 (December 2012): 857–87. “Unpacking the Warburg Library. Erwin Panofsky. 1934). Die Erscheinungen des Jahres 1931. Meaning in the Visual Arts: Papers in and on Art History (Garden City. 1927.” in Erwin Panofsky. 26–54. no. “Iconography and Iconology: An Introduction to the Study of Renaissance Art. [2000] 2008). 3–17. 3 (Spring 2012): 467–82. Richard Newald.The full outline of subjects is reproduced in translation in the Appendix at the end of this article.” Quaderni Storici. 1938). and Katia Mazzucco “L’iconoteca Warburg di Amburgo: Documenti per una storia della Photographic Collection del Warburg Institute. “Introductory. the translation of the index here in the Appendix. Jill Kraye.” in Erwin Panofsky.” Verhandlungen der 48: Versammlung deutscher Philologen und Schulmänner in Hamburg 1905 (Leipzig: 1906). 1 (2012): 117–27. Bibliothek Warburg. Gesammelte Schriften—Studienausgabe: Der Bilderatlas Mnemosyne. 13 (1986): 165–81. “Dürer und die italienische Antike. no. Katharina Lorenz and Jas´ Elsner. WIA Ia 1. and Edgar Wind (Leipzig: Teubner. Fritz Saxl to Aby Warburg. Ulrich Rehm. 1939). Die entfesselte Antike: Aby Warburg und die Geburt der Pathosformel (Köln: Verlag der Buchhandlung Walther König. Kulturwissenschaftliche Bibliographie zum Nachleben der Antike. “The Genesis of Iconology. A Bibliography on the Survival of the Classics (London: Cassell. 55–60. ed. WIA III. Aby Warburg.” Logos 21 (1932): 103–19. “Annual Report.. Critical Inquiry 38. cf. This document is included and commented in: Katia Mazzucco “Images on the Move: Some Notes on the Bibliothek Warburg Bildersammlung (Hamburg) and the Warburg Institute Photographic Collection (London). Aby Warburg. no.. no. Cf.” Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft 18 (1925): 129–61. Among the vast bibliography on the argument. Marcus Andrew Hurttig. 2012).Mazzucco: (Photographic) Subject-matter 14 15 Downloaded by [Lund University Libraries] at 00:06 20 August 2014 16 17 18 19 20 21 22 23 24 25 26 27 28 217 I am not going to recall this question. 1927. NY: Doubleday. “On the Problem of Describing and Interpreting Works of the Visual Arts. 19 fols. 1955).1. “On the Relationship of Art History and Art Theory: . 1.” Common Knowledge 18. The question of the KBW Aufstellung has been largely debated. no. “Über das Verhältnis der Kunstgeschichte zur Kunsttheorie. “Panofsky and Iconclass. 3 (Spring 2012): 483–512. Warburg Institute.” Fritz Saxl.104. Thomas Ketelsen. except in a few specific aspects. Martin Warnke and Claudia Brink (Berlin: Akademie Verlag. and one recent essay on the question by the English translators of the 1932 essay by Panofsky: Jas´ Elsner and Katharina Lorenz. November 15. I would here indicate: one contribution linked to the topics of this special issue: Roelof van Straten. Jas´ Elsner and Katharina Lorenz. Hans Meier. GC. dated November 15.7. WIA.” Artibus et Historiae 7. “Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst. Bd.” Fritz Saxl. 1 (2012) and the related bibliography. 4 (2013): 16–24. Erwin Panofsky. TS draft with some MS annotations.” Critical Inquiry 38. see those collected in Common Knowledge 18. no. “Annual Report. no.7. cf. eds. synopsis of the plates. and Claudia Wedepohl. ed. cf. 13. among the recent contributions.” tr.” Gertrud Bing. “Mnemosyne. ” Fritz Saxl. “Classical Mythology. 1984). eds. Erwin Panofsky and Fritz Saxl. no. Margaret Barr for her participation in the English wording. who was then director of Iconclass. Panofsky also stresses that the text “resulted. It is interesting to stress that the context of a first discussion of these questions had been the Automatic Processing conference. international conference proceedings (Florence: Regione Toscana.9. Couprie. 2008). “The Index of Christian Art. cf.” in Jas´ Elsner and Claire Hills-Nova. no. Esmeijer and William S. Warburg and the Exorcism of Impure Time. “Die Ausdrucksgebärden der bildenden Kunst.14. Gebärde. Heckscher. 4 (2013): 4.” Visual Resources 11.. Mazzucco..” 272. 1992).3. 2 (March 1933): 228–80. Laura Corti and Marilyn Schmidt. “Kulturwissenschaftliche Bibliothek Warburg. April 12–16. ed. eds. cf. on this document and the relative bibliography. Zur Körpersprache in der Kunst. A first different interpretation of these panels is in Ilsebill Barta Fliedl and Christoph Geissmar. Heckscher (1904–1999). Verzetteln als Methode: Der humanistische Ikonologe William S.218 29 30 Downloaded by [Lund University Libraries] at 00:06 20 August 2014 31 32 33 34 35 36 37 38 39 40 41 42 Classifying Content on Paper (ca. Gustav Kafka (Jena: Verlag von Gustav Fischer. from the common endeavour of the two authors. Anna C. 1900–1950) Towards the Possibility of a Fundamental System of Concepts for a Science of Art.” in Corti and Schmidt. 1931. “Classical Mythology.” Metropolitan Museum Studies 4. “Classical Mythology in Mediaeval Art. Panofsky and Saxl. however. Murtha Baca and Patricia Harpring. Libraries and Image Collections: the Intellectual Legacy. I. Pisa. Princeton University. Irvin Lavin “Iconography. in Auftrage der Deutschen Gesellschaft für Psychologie.” in Brendan Cassidy. ed. 323–31. Iconography at the Crossroads (Princeton. Pablo Schneider (Zurich: Diaphanes.” Art Libraries Journal 38. Automatic Processing. Panofsky and Saxl. “Classical Mythology. 4 (1962–1963): 97–119.” The Indexer 3. Sears. “Index of Christian Art. “Art Information Task Force: Categories for the Description of Works of Art. 1969).” 270. Los Angeles. Jas´ Elsner and Claire Hills-Nova. Georges Didi-Huberman.” and that he felt “indebted to Mrs. NJ: Index of Christian Art. 3–4 (1996). “Exiles and Émigrés. WIA. Kongreß der Deutschen Gesellschaft für Psychologie in Hamburg. Irvin Lavin. 2 (Spring 2003): 273–85.” Critical Inquiry 35 (Autumn 2008): 43–71. . Esmeijer and Heckscher. who in their research were assisted by the Hamburg students of art history.. rpt. 2012).” in Bericht über den XII.” ca. Libraries and Image Collections: The Intellectual Legacy. “Iconography as a Humanistic Discipline (Iconography at the Crossroads). Automatic Processing of Art History Data and Documents. no. 33–42. Paul Getty Trust. in Fritz Saxl. Hamburger Forschungen zur Kunstgeschichte 6 (Berlin: Akademie Verlag. eds. “L’iconoteca Warburg. See Charlotte Schoell-Glass and Elizabeth L. 13–25. 1931–1932. “Viewpoint: Exiles and Émigrés. eds. J. no. 1932).” 229. ed. Die Beredsamkeit des Leibes.. Scuola Normale Superiore. Form.. “Artistic Survival: Panofsky vs. 1993).” 116. Renaissance and Renascences in Western Art (New York: Harper & Row. no. “Behaviourist” and “Idealist” are the terms suggested to Lavin for this distinction by Leendert D. Grundriß der Bücheraufstellung und Bildersammlung.” Common Knowledge 9. Panofsky and Saxl. Veröffentlichung der Albertina 31 (Salzburg-Vienna: Residenz Verlag. Ausdruck: Zwei Untersuchungen.” Erwin Panofsky. In the first footnote. Photo Archives and the Photographic Memory of Art History (Berlin: Deutscher Kunstverlag. arranged according to three groups: 1) The reformulation (Gestaltwandel) of the ancient gods as Olympians and demons in the Middle Ages and the restitution (Restitution) of their ancient forms in the Reinassance 2) Tradition and reception (Rezeption) of the ancient Pathos formulae in the Middle Ages and in the Renaissance 3) Transformation (Formwandel) of individual ancient figures (antiker Gestalten) into pictorial forms (Bildformen) in the Middle Ages and Renaissance First main group I Apollo 1) as an archer 2) Musagetes of the Mount of the Muses II Neptune 1) standing.7. 550 images. “Index of Christian Art. The purpose of this provisional translation of the German text is to provide the reader with the complete list of categories and subcategories outlined by Saxl for the index. the Atlas includes. November 192745 In my estimate. 2011). I will discuss the full report and other related documents in a forthcoming essay.Mazzucco: (Photographic) Subject-matter 43 44 45 219 Esmeijer and Heckscher. For a critical overview on art history and photography. WIA Ia 1.. see Costanza Caraffa. 13–18. “Annual Report. in profile .” Fritz Saxl.” 118. with the trident 2) charioteer III Bacchus 1) with the cup 2) Bacchus and Ariadne IV Pan 1) as a rider 2) as god of all things (Allgott) and god of the music V Venus 1) Venus Pudica 2) resting Venus (alone and with Mars) 3) birth of Venus VI Pallas VII Saturn 1) ancient shape (antikisierend) 2) in medieval costume (Verkleidung) 3) devouring children 4) on the dragon chariot VIII Sol 1) the chariot. ed. frontal 2) the chariot. Appendix Downloaded by [Lund University Libraries] at 00:06 20 August 2014 Fritz Saxl’s Index for the Material of the Mnemosyne Atlas. in its actual formulation. 1900–1950) IX Mercury 1) late ancient tradition 2) Cyriacus’s Mercury X Atlas XI Hercules 1) killing the boar 2) wrestling with the lion 3) resting XII Fortuna 1) with the wheel 2) with the cornucopia 3) with the sail 4) with the forelock XIII The Sphinx The second main group includes collections of Pathos formulae. and namely: I Pain—Laocoon 1) the posthumous life (Nachleben) of the book illustrations 2) the ancient wall paintings 3) an ancient sculptural relief 4) the recovered group II Infanticide—Medea III Human sacrifice 1) sacrifice of Iphigenia 2) sacrifice of Polyxena IV Death of the god 1) Orpheus 2) Pentheus 3) Sebastian—Marsyas 4) Amor—Sebastian 5) Moresca and battle for the breeches V Dying 1) Tornabuoni—Alcestis 2) Sassetti—Meleagaer 3) Christ—Adonis 4) transportation of the body 5) Niobide—David VI Mourning 1) the dead Christ 2) antique private tombs 3) mourning figures. entombment by Giotto and Donatello 4) the grieving genre figures (trauernde Genrefiguren) of the early Renaissance and their models VII Abduction 1) Proserpina. the carrying off (Forttragen) VIII Pursuit 1) Hercules and Dejanira 2) Daphne . the progression (Fortschreiten) 2) Helena.Downloaded by [Lund University Libraries] at 00:06 20 August 2014 220 Classifying Content on Paper (ca. Anthony 2) the landscape formulae (Landschaftsformeln) 3) the image (Bildnis) of Rome . with loose hair II The Thinker 1) portrait of Aristotle 2) representation of the philosophical dialogue 3) the philosophers’ school III Man and the Environment 1) man and beast a) Meleager hunt b) temptation of St.figure (Amazonomachy.rushed. battle with the centaurs) 6) Pallas and the centaur The third main group includes individual figures and single scene. namely: I The Nymph 1) dancing figure a) individual: Judith b) dancing couple c) dancing group 2) the Muses a) Player b) Pensive 3) the Bearer a) carrying the basket with the hand b) carrying the basket on the head 4) the Ninfa with the sail-like veil 5) Flying a) Spes b) the Angel of the Annunciation c) the Angel carrying the mandorla 6) Fleeing.Mazzucco: (Photographic) Subject-matter 221 Downloaded by [Lund University Libraries] at 00:06 20 August 2014 IX Triumph X Grasping the head 1) Perseus with Medusa—Gu˘ l-head 2) Hercules with the Medusa head 3) the ancient Maenad 4) Judith 5) the ancient battle group with the laid down.