Figure 9

3.

"Go

ing

to the

Snake D

ance at

Wa

lpi," A

ugust 1891. From Th

omas D

onaldson,

Mo

qu

i Pueblo In

dia

ns o

f Arizo

na

an

d P

ueblo

Ind

ian

s of N

ew M

exico (Washington

, DC

, 18

93

).

MoqlJis ",nd

P"l""blos

$. ~,;.e""M·~"t'<itt~

(, M

.. ,O

N

I .IoI.'\l~

_ .. tliio:>;rO

.... M.~

Ap

PE

ND

IX

ON

E

Zw

isch

en

reic

h

Mn

em

osy

ne, o

r Exp

ressiv

ity

With

ou

t a Su

bject

Ou

r realm is that o

f the intervals [Zwischenreich J.

-S

igmund F

reud to Wilhelm

Fliess, April 16, 1896

Mnem

osyne, the atlas in

images W

arburg was w

ork

ing

on

before

his untimely d

eath in 1929, rem

ains on

e of th

e mo

st fascinating

and enigmatic objects in

the history o

f con

temp

orary

art (see fig­

ure 90). Its reconstitution was show

n for the first tim

e in V

ienna

in 1994, although the accom

panying exhibition catalog represents

bu

t a wo

rkin

g h

yp

oth

esis, om

itting

variants and un

pu

blish

ed

material.! N

onetheless, until a critical edition of the atlas is pub­

lished, this attemp

t at recon

structio

n allow

s us to begin to find

ou

r way through this strange landscape im

agined by Warburg, in

which a n

ew style o

f apprehending aesthetic ph

eno

men

a is elabo­

rated -w

here know

ledge is transformed in

to a cosm

ological con­

figuration and the rift betw

een th

e pro

du

ction

of the w

orks and

their interp

retation

is abolished.

Mn

emo

syne, "Ico

no

loB

Y o

j the In

terv

al"

Th

at Warburg conceived o

f Mnem

osyne topographically, bey

on

d

the m

on

tage o

f maps o

n th

e preliminary panel o

f the atlas, ap­

pears to be suggested in th

e enigmatic phrase "iconology o

f the

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

intervals," which h

e used in his jou

rnal o

f 1929. 2 This iconology is

based no

t on

the m

eaning of th

e figures -the foundation o

f inter­

pretation for Warburg's disciples, beginning w

ith Panofsky -

bu

t

on

the interrelationships b

etween

the figures in th

eir complex,

autonomous arrangem

ent, which can

no

t be reduced to

discourse.

Although E

rnst G

om

brich

claimed th

at Fritz S

axl played an

imp

ortan

t role in the genesis of the project, one notes that M

nemo­

syne recapitulates, in images, W

arburg's research into

the survival

of A

ntiquity thro

ug

ho

ut his career -

from th

e dep

iction

of th

e

gods of A

ntiquity in Renaissance art to the representation o

f the

ny

mp

h in m

otion; from the history o

f the heavens and the corre­

spondences betw

een the m

icrocosm and th

e macrocosm

to cou

rt

festivals.3 O

ne episode, how

ever, is strang

ely ab

sent from

this

thematic catalog: W

arburg's trip to N

ew M

exico and Arizona dur­

ing the win

ter of 1895-1896, despite the im

po

rtant photographic

do

cum

entatio

n he had available and that he had in p

art assembled

firsthand. 4 T

he trip rem

ains nonetheless a likely, though deleted,

origin of the atlas W

arburg un

derto

ok

right after leaving the K

reu­

zlingen clinic -after having delivered his lectu

re on

the serp

ent

ritual, which broke his long silence and m

arked his return

to the

Indian question, in which he had seem

ingly lost interest for m

ore

than twenty-five years. s

In the m

argin of his draft o

f the 1923 lecture, W

arburg noted,

"missing F

reud Totem a

nd

Taboo."6 In the first lines of th

at essay,

Freud declared th

at he sought to establish a parallel betw

een "th

e

psychology of prim

itive peoples, as it is taught by social anthro­

pology, and the psychology of neurotics, as it has b

een revealed by

psycho-analysis:'7 In light of F

reud

's remarks, th

e Kreuzlingen

lecture takes an openly introspective turn

.

But the trip to the A

merican W

est also has a heuristic value. In

1930, Saxl n

oted

that it w

as in N

ew M

exico that W

arbu

rg dis­

covered the p

rincip

le for a renew

al of his in

terpretatio

n o

f the

ZW

ISC

HE

NR

EIC

H

Flo

rentin

e Renaissance. 8 In th

e images o

f the ritu

als Warb

urg

photographed o

r assembled after the fact, o

ne do

es notice that h

e

sought to in

terpret th

e past in the light of th

e faraway, producing

a collision betw

een two

levels of reality u

nk

no

wn

to each other:

Native (and to

som

e exten

t accultu

rated) A

merica o

n th

e on

e

hand, and the F

lorentine Renaissance, o

n th

e oth

er (figures 94a

and b). These violent associations, w

hich over time w

ou

ld lose

their intuitiven

ess and beco

me structural, arise n

ot from

simple

comparisons b

ut from

rifts, detonations, and deflagrations. They

seek no

t to find con

stants in

the o

rder o

f hetero

gen

eou

s things

bu

t to intro

du

ce differences within the identical. In M

nemosyne, in

keeping with

the m

odel Warburg form

ulated during his trip, the

distance betw

een th

e images, w

hich tends to invert the param

e­

ters of tim

e and space, pro

du

ces tensio

ns b

etween

the o

bjects

depicted and, inductively, betw

een th

e levels of reality from

which

these objects proceed.

To grasp w

hat Warburg m

eant by th

e "iconology of the inter­

vals," on

e mu

st try to understand, in terms o

f introspection and

mo

ntag

e, wh

at binds, or, inversely, separates, the motifs o

n th

e

irregular black fields that isolate the im

ages on the surface of the

panels and bear w

itness to

an enigmatic prediscursive p

urp

ose.

Each panel o

f Mnem

osyne is the cartographic relief of an area o

f art

history imagined S

imultaneously as an objective sequence and as a

chain of thought in w

hich the netw

ork

of th

e intervals indicates

the fault lines th

at distribute or organize the representations into

archipelagoes or, in oth

er words, as W

erner H

ofmann has p

ut it,

into

"constellations."9

In arranging the images on th

e black cloth of th

e panels of his

atlas, Warburg w

as attemp

ting

to activate dynamic properties th

at

would be laten

t if considered individually. His inspiration for this

techn

iqu

e of activating visual data w

as a con

cept fo

rmu

lated

10

1904 by Richard S

emo

n, a G

erman

psych

olo

gist w

ho

was a

253

Fig

ure

s 94

a a

nd

b. M

aske

d d

an

cers,

Ho

pi co

un

try, Arizo

na

, 18

95

. Ph

oto

gra

ph

ed

by He

nry R

. Vo

th. A

by W

arb

urg

Co

llectio

n.

ZW

IS

CH

EN

RE

IC

H

stud

ent o

f Ew

ald Hering's. In his D

ie Mnem

e ais erhaitendes Prinzip

im W

echsei des organischen Geschehens (M

emory as a basic principle

of o

rgan

ic beco

min

g), S

emo

n d

efined

mem

ory

as the fu

nctio

n

charg

ed w

ith p

reservin

g and tran

smittin

g en

ergy

temp

orally

,

allowing so

meo

ne to

react to som

ethin

g in

the past from

a dis­

tance. Every ev

ent affecting a living b

eing

leaves a trace in th

e

mem

ory, and Sem

on called this trace an eng

ram, w

hich he de­

scribed as the repro

du

ction

of an original event. 10

Warburg's atlas externalizes and redeploys in culture th

e phe­

no

men

on

described by Sem

on within th

e psyche. The im

ages in

Mnem

osyne are "engrams" capable o

f re-creating an experience of

the past in a spatial configuration. As conceived by W

arburg, his

album o

f images represents the place in w

hich original expressive

energ

y can be rekindled in

archaic figures deposited in m

od

ern

culture and in which this resurgence can take shape. L

ike Sem

on's

engrams, the atlas's im

ages are "reproductions," bu

t they are pho­

tographic reproductions, literally, photograms.

11

On

e example is on panel 2 o

f the atlas (figure 95), in th

e ele­

men

ts arranged on

the to

p and to th

e right. In this module, o

ne

finds, arranged in a circle:

• tw

o representations o

f the heavens from a ninth-century m

anu­

script, after Ptolem

y;

• a globe held by th

e Farnese H

ercules from the M

useo Nazio­

nale in Naples, in close-up;

• a detail o

f the Farnese H

ercules;

• a close-up of a detail o

f the globe held by Hercules, depicting

an episode from th

e legend of P

erseus;

• and below

, vignettes taken from th

e Aratus, a L

atin manuscript

in L

eiden, carved on

two

symm

etrical columns, depicting the

actors in

the narrative: A

nd

rom

eda, th

e sea mo

nster C

etus,

Perseus, P

egasus, Cassiopeia. 255

Figure 9

5.

Aby W

arburg, M

nemosyne, pi: 2

(de

tail): P

tole

my

's heavens.

ZW

IS

CH

EN

RE

IC

H

Through the sim

ple juxtaposition of im

ages taken from differ­

ent sources, W

arburg generates something that an

yo

ne o

f these

images taken alone w

ould no

t produce. Taken sim

ultaneously, the

two

drawings o

f the celestial vault rep

resent th

e totality

of th

e

sky. Th

e close-up of the globe, to the right, appears as the m

ateri­

alization of this d

ou

ble p

lanetary

relief, in such a way th

at on

e

moves unconsciously from

a drawing o

f the heavens to its projec­

tion

in th

ree dimensions, from

a line draw

ing

to a p

ho

tog

raph

.

Next, o

ne m

oves from the close-up to

the general plan, and from

the close-up to

the ex

treme close-up th

at isolates an episode of

Perseus's adventures in a syntax entirely cinem

atic in inspiration.

Next, o

ne com

es back to a general drawing o

f the sky through a

circular movem

ent, a formal path sim

ilar to the spherical object

represen

ted, so th

at the seq

uen

ce of im

ages organized by War­

bu

rg leaves figuration and m

oves into

mim

etic repro

du

ction

of

the sphere o

f the sky in motion. 12

Panel 43 involves th

e cycle of frescoes S

assetti comm

issioned

from G

hirlandaio for the Santa T

rinita chapel, to which W

arburg

devoted his decisive 1902 study (see figure 44).13 On

e notes, as in

pan

el 2, a juxtaposition of line draw

ings (in the up

per right, an

overview o

f the three panels) and photographic im

ages, an indica­

tion

of the basically constructible n

ature o

f the representations.

Warb

urg

repeated

ly used schem

atic transcrip

tion

s of w

ork

s of

art, which he arran

ged

on

sheets as on storyboards, organizing

their interrelationships with colored lines. 14

Th

e visual arrang

emen

t of the chapel is de co

nstru

cted before

being rearranged analytically: beneath the C

onfirmation if the R

ule

if Sa

int F

rancis, depicted first by Giotto (to the left) and th

en by

Ghirlandaio (to the right), W

arburg shows a detail o

f the figura­

tive sequ

ence fro

m th

e foreg

rou

nd

of G

hirlan

daio

's fresco in

which a n

um

ber o

f peo

ple em

erge fro

m b

elow

on

a staircase,

enterin

g the pictorial plane. C

uttin

g o

ut th

e images accentuates

257

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

the ph

eno

men

on

of irru

ptio

n, w

hich

sets Gh

irland

aio's w

ork

apart from G

iotto's, over any elemen

ts the tw

o w

orks might have

in com

mo

n. In o

ther w

ords, the art historian uses an iconographic

con

stant (th

e con

firmatio

n o

f the ru

le) to show

that th

e condi­

tions of rep

resentatio

n have changed b

etween

the two

painters. It

is a matter n

o longer o

f depicting an episode from F

ranciscan leg­

end bu

t of staging a p

hen

om

eno

n o

f appearance, figures enterin

g

into

the representation. Warburg is n

ot co

nten

t to rep

rod

uce the

two

frescoes and

com

pare th

em: h

e recon

structs a d

etail from

Ghirlandaio's w

ork

based on

a series of artificially disjointed plas­

tic elements. 15

A last exam

ple, panel 25, is devoted to the reliefs by A

gostino

di Duccio in the T

empio M

alatestiano in Rim

ini (figure 96). On

the panel, wh

ere the images are arranged relatively regularly, the

up

per p

art presents the temp

le as a whole, situating th

e wo

rk o

f

Agostino -

wh

om

Warburg considered, along w

ith A

lberti (the

temple's architect), o

ne o

f the great instigators o

f figures in mo­

tion in the Renaissance. P

anel 25 goes beyond simple registration

and sho

uld

be seen

as a com

po

site con

structio

n co

njo

inin

g a

physical experience of space and certain m

ental operations (asso­

ciations, mem

ories, repetitions, focalizations). Th

e staccato rhy­

thm

s of the com

position, the irregular format, and th

e close-ups

of details o

f figures repro

du

ced elsew

here on

the p

anel in

over­

view (the m

uses of the tem

ple, or the relief o

f the Castello S

for­

zesco in the center and th

e low

er right) attest to this fact. O

ne

sud

den

ly realizes th

at the p

anel co

nstitu

tes in reality a visit to

the temple and is developed like an in

terior m

onologue; it is the

chronicle of thoughts and associations th

at wen

t through the his­

torian's mind as he w

orked.

Th

e images assem

bled by Warb

urg

in this w

ay fun

ction

as

disco

ntin

uo

us seq

uen

ces that find expressive significance only

wh

en considered in an arrangem

ent of com

plex interconnections.

Figure 9

6.

Aby W

arburg, Mnem

osyne, pI. 2

5:

Ag

ostin

o d

i Du

ccio's re

liefs in th

e T

empio

Ma

late

stian

o, R

imin

i.

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

I

N

MO

TI

ON

Th

e Mnem

osyne panels fu

nctio

n as screens on w

hich the phe­

no

men

a pro

du

ced in succession by the cin

ema are rep

rod

uced

simultaneously. D

uring a seminar he held in his library in H

amburg in 1927,

Warburg referred

to Burckhardt and N

ietzsche (the Apollonian

and Dionysian poles o

f his own thought) as "seism

ographs."16 The

model o

f the seismograph goes back to the pre-cinem

atic wo

rk

done by Etienne-Jules M

arey during the last two

decades of the

nin

eteenth

century. 17 But W

arburg probably imported this im

age

from literary criticism

. In a lecture titled "Th

e Poet and the P

res­

ent T

ime" (published in N

eue Rundschau in 1907), treatin

g the

relationship betw

een p

oetry

and temporality, H

ugo von Hof­

mannsthal w

rote:

[The poet) is like a seism

ograph that vibrates from every quake, even

if it is thousands of m

iles away. It's n

ot that he thinks incessantly o

f

all things in the world. B

ut they think of him

. They are in him

, and

thus do they rule over him. E

ven his dull hours, his depressions, his

confusions are impersonal states; they are like the spasm

s of the seis­

mograph, and a deep enough gaze could read m

ore mysterious things

in them than in his poem

s.18

From

this passage Warburg's art history seem

s to have retained

two

points: the "despecification" of discourse ("indeed, this pre­

cise separation betw

een the p

oet and the n

on

-po

et does no

t seem

at all possible to me"19), w

hich makes it possible to recharacterize

the metadiscursive discourse o

f the historian or the philosopher

as a form o

f authentic poetic expression; and an implicit critique

of the philosophy o

f the subject: the author is less the master o

f

his words than he is a receptive surface, a photosensitive plate on

which texts o

r images surging up from

the past reveal themselves.

Warb

urg

called Mnem

osyne "a gh

ost story for adults" [eine

26

0

ZW

ISC

HE

NR

EIC

H

Gespenstergeschichte fur ganz E

rwachsene]," and, in describing

his return from K

reuzlingen, he spoke of a sort o

f return

from the

dead. In his library, he stayed, like Hofm

annsthal's poet, "beneath the staircase o

f time":

Strangely, he lives in the house o

f time, beneath the staircase, w

here

everyone must pass by and n

o one pays any attention .... T

here he

dwells and sees and hears his w

ife and brothers and children as they

go up and do

wn

the stairs, speaking of him

as a man w

ho has disap­

peared, or even as a dead m

an, and mo

urn

ing

over him. B

ut it is for­

bidden for him to reveal him

self, and so he lives un

kn

ow

n beneath

the staircase of his ow

n house. 2o

The disparate objects w

hose images W

arburg collected for the

panels of his atlas are like the m

aterial from w

hich poetry, accord­

ing to H

ofmannsthal, is m

ade. They are objects taken from

differ­

ent levels o

f the past, freed from functionality, abandoned to a

strange figural floating:

[The poet) is unable to pass by any thing, how

ever inconspicuous.

That there is som

ething like morphine in the w

orld, and that there

was ever so

meth

ing

like Athens o

r Ro

me o

r Carthage, th

at there

have been hu

man

markets and th

at there are hum

an markets, the

existence of A

sia and Tahiti, o

f ultraviolet rays and the skeletons of

prehistoric animals, this handful o

f facts and the myriad o

f such facts

from all orders o

f things are somehow

always there for him

, waiting

for him som

ewhere in th

e dark, and he must reckon w

ith them. 21

Th

e planar dislocation in the panels o

f Mnem

osyne finds a

parallel, as Kurt F

orster has noted, in the photomontages created

by the avant-garde m

ovements o

f the second and third decades

of the tw

en tieth cen tury. 22 This association has the advantage o

f

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

I

N

MO

TIO

N

removing W

arburg from the co

ntex

t of hum

an sciences at the end

of the n

ineteen

th century, w

here G

ombrich still tried to

confine

him. 23 B

ut perhaps on

e should look for the original inspiration of

this idea in illustrated

books on

Native A

merican ethnography,

which W

ar bu

rg began to collect after his retu

rn from

Am

erica.

More radically, o

ne can find th

e most p

ertinen

t analogy to War­

burg's endeavor outside the human sciences, in cinem

a. Jean-Luc

Godard, seventy years o

r so later, sought in his Histoire(s) du cinem

a

(Story (stories) o

f the cinem

a) "to b

ring

disparate things tog

ether"

and wo

rk th

e material o

f film as W

arburg worked th

at of art his­

tory, mixing personal and collective m

emory, going b

eyo

nd

the

limits b

etween

the p

rod

uctio

n and th

e interp

retation

of w

orks,

betw

een language and m

etalanguage, drawing the m

eaning of an

actualization of im

ages from reciprocal revelations possible only

through mo

n tage. 24

Warburg's juxtaposition o

f an image o

f Judith holding the head

of H

olofernes with a fem

ale golfer wielding h

er club (figure 97) is

echoed in Godard's flickering superim

position of the silho

uette o

f

Lillian G

ish passed ou

t in the snow (in O

rphans cif the Storm) and a

hysterical wo

man

patien

t of C

harco

t's (figures 98 and

99).25 In

Histoire(s) du cinem

a, the film

maker describes th

e history of cin­

ema as a "saturation o

f magnificent signs that bathe in th

e light of

their absence of explanation."26 T

his beautiful phrase, which echoes

Mallarm

e, also holds true for M

nemosJne.

Mnem

osyne, "A

rt Histo

ry With

ou

t a T

ext"

A few

mo

nth

s before undertaking his trip to the land of the H

opi

in 1895, W

arbu

rg published, in Italian, a study o

f the In

termed

i

staged in Florence on the occasion o

f the marriage o

f Ferdinand

de' M

edici and Ch

ristine o

f Lorraine. 27 A

ccording to W

arburg,

the Interm

edi were a spectacle th

at belonged no

t to dram

atic art,

properly speaking, which expresses itself through w

ords, bu

t to

26

2

Figure 97.

Aby W

arburg, Mnem

osyne, pI. 77

:

bo

ttom

, cen

ter: E

rica Se

llsho

p, The H

ea

dh

un

ter

as Wom

an Pla

ying

Go

lf (Aby W

arburg, jou

rna

l,

July 31, 1

92

9).

Figure 9

8.

D.W

. Griffith

, Orphans o

fthe

Storm

(19

21

), Lillia

n G

ish lying

on a bench,

photogram. B

iblio

the

qu

e du film

, Paris.

Figure 9

9.

Jea

n-M

artin

Charcot, fro

m

"Ph

oto

gra

ph

ic Iconography of La S

al pe

tri ere."

Ph

oto

the

qu

e de l'A

ssistance Pu

bliq

ue

, Paris.

"Wh

at is th

e d

iffere

nce

between L

illian

Gish in

Orphans o

f the Storm

and Au

gu

stine

in La S

alp

etrie

re?

" (Jean-Luc G

odard)

ZW

ISC

HE

NR

EIC

H

"the m

ythological pageant; and this, being an essentially mu

te and

gestural art, naturally relies on accessories and orn

amen

ts:'28 Th

e

language of gestures thus form

s a po

int o

f convergence betw

een

the N

ative Am

erican rituals and the In

termed

i interp

reted as pan­

tom

imes o

f the an

cient w

orld.

Herm

ann

Usen

er's role in W

arbu

rg's decision to

un

dertak

e

his trip to the A

merican W

est has already been

documented. 29 In

an article titled "Heilige H

andlung" (Sacred action), the G

erman

philologist, whose course W

arburg too

k in

Bonn, traced a parallel

betw

een the H

opi Indians and the peoples o

f Antiquity, a parallel

that W

arbu

rg w

as insp

ired to

adap

t to th

e stud

y o

f the Italian

Ren

aissance. In ad

ditio

n, th

ere is the less-k

no

wn

influ

ence o

f

the A

merican eth

no

grap

her G

arrick Mallery, the author o

f a long

stud

y titled

Sign Language A

mong N

orth Am

erican Indians, C

om­

pared with T

hat Am

ong Other P

eoples and Deaf-M

utes, pu

blish

ed

in th

e accou

nts o

f the S

mith

son

ian In

stitutio

n in 1880, w

hich

Warburg alluded to in th

e draft of his 1923 lecture on the serp

ent

ritual. 30

Mallery's research w

as part o

f a vast series of studies o

n sign

language among N

orth

Am

erican Indians -from

Stephen H

. Long's

groundbreaking research, published in 1823,31 to Ernest T

ho

mp

­

son Seto

n's g

reat dictionary, Sign Talk,

pu

blish

ed in

1918, in

which seventeen thousand signs w

ere cataloged. 32 Mallery's orig­

inality lay in his comparative perspective, according to w

hich sign

language is the fundamental expressive m

od

e of hum

anity, reveal­

ing

the tran

scend

ental fo

rmatio

n o

f the p

erson

. Traces o

f this

were found as often in popular N

eapolitan culture as in the com

­

munities o

f No

rth A

merican Indians, am

ong the deaf-m

utes, or

on

the margins o

f mo

dern

society (it is the language o

f the under­

wo

rld and secret societies). T

hus the g

esture m

ade by Judas in

Leonardo da V

inci's Last Supper is, according to M

allery, similar

to th

e sign used in Naples and am

on

g certain

Native A

merican

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

com

mu

nities to

designate th

e thief (figure 100). T

hro

ug

h th

e lan­

guage of signs, "civilized" m

an engages in an infradiscursive com

­

munication th

at op

ens him

to the consciousness o

f oth

erness.

Malle ry tells an am

using story that illustrates th

e effects of th

e

irrup

tion

of p

anto

mim

e into

the aren

a of art h

istory. D

urin

g

a cou

rse on

the h

istory

of p

aintin

g, T

ho

mas H

op

kin

s Gallau

det,

professor in a school for deaf-m

utes, received Joh

n T

rumbull, w

ho

wan

ted to

test Gallau

det's p

ow

ers of facial ex

pressio

n. H

aving

been invited by Gallaudet to choose any event from

the history o

f

Greece, R

ome, E

ngland, or A

merica, "o

f a scenic character, which

wo

uld

make a striking picture o

n canvas," T

rumbull challenged th

e

professor to express B

rutus's con

dem

nin

g his tw

o sons, w

ho

had

resisted his authority and disobeyed his orders, to death. In short, h

e

asked him to

mim

e a painting by David

. Gallaudet th

en p

ut him

self

into

a paradoxical state in ord

er to co

mm

un

icate to his students,

thro

ug

h p

anto

mim

e alone, the im

age the painter had suggested:

I folded my arm

s in front of me, and kept th

em in that position, to pre­

clude the possibility of m

aking any signs or gestures, o

r of spelling any

words on m

y fingers, and proceeded, as best I could, by the expression

of m

y countenance, and a few m

otions of m

y head and attitudes of the

body, to convey the picture in m

y own m

ind to the mind if m

y pupil. 33

Th

e main th

reads o

f Gallaudet's p

erform

ance, lim

bs imm

ob

i­

lized by invisible bonds, are the follow

ing: according to a conven­

tion com

mo

n am

on

g th

e deaf-mute, h

e expressed the equivalent o

f

a Ro

man

, aquiline nose, by stretchin

g his facial m

uscles; his gaze

wandered to

the east, and h

e rocked his head, imitating th

e crossing

of th

e Atlan

tic Ocean

to stress th

at the ev

ent to

ok

place no

t in

Am

erica bu

t in the O

ld W

orld (Gallaudet m

imicked so

meth

ing

far­

away); h

e rolled his eyes from to

p to b

otto

m and rep

eatedly looked

backward to

indicate that th

e even

t too

k place in th

e remo

te past

266

, , \

/ , ."

" ...... ---~-

ZW

ISC

HE

NR

EIC

H

Figure 1

00

. S

ign for thie

f among th

e Indians.

From G

arrick Mallery, S

ign Language Am

ong

No

rth A

me

rican

Indians, p. 29

1.

(Gallaudet m

imed

the past). T

he seco

nd

half o

f the p

erform

ance

was m

ore co

nv

entio

nally

dramatic. G

allaud

et showed authority,

pu

nish

ed th

e wro

ng

do

ers, and con

dem

ned

them

to d

eath. H

e

expressed the passage o

f days by falling asleep and waking several

times; he expressed th

e offense by staring at two

distan

t po

ints in

space in ord

er to indicate tw

o offenders; h

e showed deliberation,

and hesitation accompanied by conflicting em

otions; he looked at

the tw

o young p

eop

le (two

arbitrary po

ints in th

e void) alternately,

then

simu

ltaneo

usly

, "as a fa

ther w

ould look."34 Th

en h

e mim

ed

emo

tion

al conflict on

ce again in ord

er to convey "graphic" pow

er.

Finally, he show

ed the decision to

con

dem

n th

em to death

. Changes

of expression are th

e mo

st difficult thin

g to

describe bu

t also the

mo

st fascinating, Mallery concluded, for they instill life w

ith "th

e

skeleton sign:' A sim

ilar turn

of phrase is found in W

arburg's 1923

lecture w

hen

he describes a young H

op

i girl who, like a canephore,

carrie; on

her h

ead an

earthen

ware p

ot, o

n w

hich

is dep

icted a

"skeletal heraldic image."35 A

t the en

d o

f Gallaudet's d

emo

nstra­

tion

, the d

eaf-mu

te stud

ents w

ere clearly capable of tran

scribin

g

the precise history o

f Brutus and his sons.

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

Warb

urg

probably remem

bered

Mallery's didactic-sham

anic

tale during his trip am

ong the Hopi w

hen, in a N

ative Am

erican

school, he reversed G

allaude t's p

erform

ance and asked th

e stu­

dents to illustrate a G

erman p

oem

, "Hans G

uck in die Lzif't," that

is, to translate an un

kn

ow

n tex

t into

familiar im

ages. 36

Sign language, which allow

s the istoria o

f painting to b

e trans­

mitted

indep

end

ently

of speech, o

pens u

p an access to

the past

for the m

od

ern view

er. Through M

allery's text, it was in fact from

Andrea de Jorio th

at Warburg b

orro

wed

the intu

ition

informing

the lexical stru

cture o

f Mnem

osyne. In Gesture in N

aples and Gesture

in Classical A

ntiquity, published in Naples in 1832, Jorio sought to

interp

ret the gestures o

f Antiquity as th

ey appeared in w

orks of

art, on vases and reliefs, based on

the gestures o

f his con

temp

orary

Neapolitans (figures lO

la, b, and c). Mallery, rew

ork

ing

Jorio

's

theories from an ethnographic angle, co

mm

ented

on

a fragment o

f

a vase from A

ntiquity depicting Dionysus (at right) and the satyr

Com

us with

two

nymphs, G

alena (Tranquillity) and E

udia (Seren­

ity), in light of N

ative Am

erican sign language.37 Galena, dressed

in a wild beast's skin, beats a tym

pan while E

udia snaps her fingers

-a gesture, according to M

allery, executed during the tarantella,

an ecstatic dance practiced in the Italy o

f his day. But seen as sign

language, the nymphs' poses take o

n a m

ore precise m

eaning. The

two

wo

men

appear to have had an argum

ent. The o

ne o

n th

e left

points to her com

panion, in a gesture of reproach. G

alena, while

pivoting her torso, raises h

er arms in a gesture o

f surprise or de­

nial. According to

Mallery, th

e mo

vem

ent o

f raising the h

and

to

the shoulder, p

alm to

ward

the in

terlocu

tor, is found am

on

g th

e

Dak

ota Indians. F

urth

ermo

re, Eudia's left h

and

is also po

inted

toward h

er rival, thu

mb

and index touching, which is th

e Neapoli­

tan sign oflove.

An

oth

er fragmen

t depicts Athena su

rrou

nd

ed by a w

ar coun­

cil. 38 The goddess, in

a vehem

ent g

esture, looks to the right and

268

Figure lO

la.

Dispute B

etween N

ea

po

litan

Wom

en, end of th

e n

ine

tee

nth

century. From

Andrea de Jorio, G

esture in N

ap

les a

nd

Gesture

in C

lassica

l An

tiqu

ity ([ 18

32

]; Blo

om

ing

ton

:

Ind

ian

a U

nive

rsity Press, 2

00

0).

Figure 101c.

Athena in th

e M

idd

le of a W

ar

Co

un

cil. From Jorio, G

estu

re in Nap

les a

nd

Gesture in

Cla

ssical A

ntiq

uity.

Figure 101 b.

Com

us and Dionysus B

etween

Two N

ymp

hs

. From Jorio, G

esture in Naples a

nd

Gesture in C

lassical An

tiqu

ity.

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

stretches ou

t her left arm

to the left; h

er right hand brandishes a

spear to th

e righ

t, and the p

ositio

n o

f her feet show

s that she is

ready to bo

un

d forw

ard. She enjoins the people on

her right to

fol­

low

her. T

he seated w

arrior holds his rig

ht h

and

flat susp

end

ed

above his kn

ees. This signifies, in th

e Neapolitan gestures o

f Mal­

lery's time, hesitation, an invitation to

reflect before un

dertak

ing

a

dangerous enterprise. Native A

mericans attributed th

e very same

meaning to a hand held in the sam

e position, tilted slightly upward.

Th

e warrio

r seated to

the rig

ht h

old

s an op

en h

and

to A

thena,

palm facing u

pw

ard and clearly raised. H

ere again, Mallery found

equivalents in Neap

olitan

cultu

re and Native A

merican

signs,

wh

ere questioning was expressed by th

e ou

tstretched

hand, palm

turn

ed up, and th

e no

tion

of quantity by an ascending m

ov

emen

t

of the o

pen

hand.

An iconographic study o

f vases and reliefs from A

ntiquity thus

found operational instru

men

ts of analysis in m

od

ern anthropol­

ogy. Conversely, in the light o

f the gestures sketched ou

t by Mallery,

latent archaic traits reap

pear in

mo

dern

imag

ery. Published by

Jorio and repro

du

ced by M

allery, a nin

eteenth

-centu

ry N

eapoli­

tan engraving depicting a quarrel betw

een tw

o w

om

en thus echoes

the iconography o

f the m

aenads in the D

ionysian corteg

e. Th

e

wo

man

to th

e left, shocked to see h

er form

er friend, wh

o has

become rich, strolling w

ith her fiance, raises the h

em o

f her skirts

derisively to imitate the great lady; th

e insulted wo

man

makes the

sign of horns w

ith b

oth

hands to indicate a menacing curse. T

his

gesture, which is executed to conjure up 1a jettatura, the evil eye,

also alludes to th

e sacrifice of h

orn

ed anim

als. Th

e fiance, for his

part, bites his finger: this is a sign of passion, like the grinding o

f

teeth and the biting o

f lips.

Conceived n

o longer in term

s of its arrangem

ents bu

t from the

po

int o

f view o

f the im

ages, the atlas presents itself as a collection

of th

e Pathoiform

eln, the pathos form

ulas, used in art to

form

a

270

ZW

ISC

HE

NR

EIC

H

mu

te language freed from discursivity. T

he analysis o

f expressive

gestures opens up an unusual, intuitive path

to the figures o

f the

past and allows o

ne to identify th

eir recurren

ce in con

temp

orary

imagery. T

he trip in

to H

opi country, du

ring

which W

arburg en­

deavored to find traces o

f the Florentine R

enaissance in the N

ative

Am

erican universe, thus appears as a verification o

f Jorio's dem

on

­

stration in light of M

allery's anthropological analyses.

Th

e Mie

, or F

rozen

Pose

Wh

ile staying in San F

rancisco in 1896, Warburg toyed w

ith th

e

idea of going to

Japan. Let us im

agine he wanted to

see Kabuki

theater:

In the past, w

hen

the only illum

ination in K

abuki (and also Occid

en­

tal) theatre w

as candles and oil lam

ps, the actors p

erform

ed alm

ost

in the dark .... A

nd so a stage servant wo

uld

follow the p

rotag

on

ist

around the stage, carrying a lo

ng

pole with

a candle in a little dish at

on

e end. Thus th

e actor's face, u

pp

er torso

, and arms w

ere illumi­

nated

with

ou

t the assistant being visible to

the spectators. In spite o

f

this contrivance, it was necessary to

give the spectators tim

e to take

in the actor's expression, at least in th

e mo

st crucial mo

men

ts: it was

even the m

ore difficult to

catch this expression in the tw

ilight given

that th

e spectato

rs were often occupied w

ith o

ther activities: eating,

drinking tea, gossiping.

On

e mig

ht suppose th

at this situatio

n gave b

irth to

the K

abuki

actors' cu

stom

of sto

pp

ing

, or b

etter, of cu

tting

as they

describ

e

it, mie (literally, to

sho

w). W

hy

cut? Th

e actor's p

ose co

uld

be

des[ c ]ribed as stop

pin

g th

e film in th

at particular frame w

here th

e

actor is show

ing a special tension: hen

ce the m

eanin

g o

f cuttin

g th

e

action and of blocking a living im

mobility.39

271

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

Th

e Kabuki actor w

ent from

on

e mie to

another, from

the height

of o

ne tension to th

e next, imm

obilized at the height of gestural

intensity like the LaocoO

"n, which G

oeth

e compared to the m

ove­

men

t of a frozen flash o

f ligh

tnin

g o

r a petrified

wave (figure

102).40 In Mnem

osyne, Warburg sought to

juxtapose figures caught

at the culm

inating po

int o

f their expressivity by using th

e black

spaces betw

een th

em as visual ru

ptu

res, disju

nctio

ns in

which

diminution o

r slackening energy was annulled. T

hus if on

e were to

express Pathoiform

eln in Japanese, on

e might translate it as "m

ie ,"

a movem

ent frozen in the in

stant o

f its greatest intensity.

Corresponding to

the project of founding an art history w

ith­

ou

t a text is a critique o

f the supremacy o

f language in the genesis

of m

eaning, a criticism o

f the aristocratic, tragic theatrical forms

based on

the privileging o

f the tex

t. If the th

eory

according to

which sign language inform

ed the pro

ject of M

nemosyne through

Warburg's experience o

f Native A

merican rituals and Italian com

­

edy proves true, on

e mu

st look for the origin of M

nemosyne n

ot in

tragedy and the aristocratic th

eatrical forms articu

lated in lan­

guage bu

t in pan

tom

ime and satyr dram

a, at the po

int w

here the

comm

edia dell'arte and Native A

merican ritual converge.

In his 1923 lecture, Warburg recounted that during the kachina

dances in Oraibi, h

e was struck by the sudden appearance o

f clown

dancers, which he com

pared to that o

f the satyr in th

e tragic cho­

rus. The clow

n Koyem

si is also related to Harlequin, w

ith w

hom

he shares the practice o

f the lazzi, obscenity (the bat is originally

a sexual symbol inh

erited from

the phallic gam

es of A

ntiquity),

gluttony, and in particular the black mask w

hose use, in bo

th Ital­

ian comedy and N

ative Am

erican rituals, allowed th

e plastic elo­

quence of th

e bo

dy

to develop and an unpsychological reperto

ry

of expression to

be produced (figures 103a and b). T

he mask pre­

serves the uniqueness of th

e person wearing it and, by hiding his

face, removes him

from hum

anity in o

rder to transform

him into

272

ZW

IS

CH

EN

RE

ICH

a specter. Displaying em

otio

n w

itho

ut a subject, p

anto

mim

e re­

places the actor's performance from

an angle of hallucination and

fear -such w

as An

ton

in A

rtaud's conclusion, in 1931, wh

en he

was elab

oratin

g th

e do

ctrine o

f pu

re theater, based o

n B

alinese

theater, fo

un

ded

on

gestu

re and the rejectio

n o

f psychological

drama: "T

he hieratic costumes give each actor a kind o

f dual body,

dual limbs -

and in his costu

me, th

e stiff, stilted artist seem

s

merely his ow

n effigy."41 Th

e dissociation that A

rtaud saw enacted

on

the stage of th

e Balinese theater w

as something th

at Warburg

had already seen in the N

ative Am

erican rituals, before making it a

pathway in

to the analysis o

f figurability in painting. It was to

lead

Warb

urg

, with

Mnem

osyne, to conceive o

f art histo

ry based o

n

this "secret psychic impulse," an im

pulse that is "sp

eech before

wo

rds" and th

at Artau

d saw

as the origin o

f theatrical creation

(figures 104 and 105).42

In the second century, the Sophist A

thenaeus spoke of a fam

­

ous actor o

f his time n

amed

Mem

phis, wh

om

they called "the

dancing philosopher" because he taught Pythagorean philosophy

by gestures alone. In an early no

te for his "Bruchstiicke" (F

rag­

men

ts), drafted

on

Sep

temb

er 29, 1890, o

ne m

igh

t find the

source of W

arburg's research into the p

ure sequences o

f images

that cam

e to replace discourse and that transform

ed him, in tu

rn,

into

a dancing philosopher: "To attrib

ute m

otio

n to a figure th

at

is no

t moving, it is necessary to

reawaken in o

neself a series o

f

experienced images follow

ing on

e from th

e oth

er -n

ot a Single

image: a loss o

f calm contem

plation:'43 A series o

f images follow

­

ing on

e from th

e oth

er (eine atifeinander Jolaende Reihe von B

il­

dern), a strip of film

, a snake.

273

Figure 1

02

. T

oshusai Sharaku, T

he acto

r Otani

On

jii in Eito

ku at th

e m

om

en

t of th

e m

ie, d

eta

il

from

the

Edobei R

oll, 17

94

, Musee des A

rts

Asia

tiqu

e G

uim

et. R

eunion des Musees

Na

tion

au

x, Paris.

Figure 1

03

b.

Tristano M

artin

elli in th

e role o

f

Ha

rleq

uin

. From C

om

po

sition

s de

rhe

toriq

ue

de

M.

Don A

rleq

uin

(Lyons, 1601).

Figure 1

03

a.

Koyem

si (mu

d head) H

opi

kach

ina

, pa

inte

d w

ood, feathers, fibers.

He

igh

t: 26

cm. H

orst A

nte

s colle

ction

.

Figure 1

04

. M

ne

mo

syne

, wo

rking

panel.

Fig

ure

10

5.

Mn

em

osyne, p

l. 5 (de

tail):

the

de

con

structio

n o

f a gro

up

of N

iob

ide

s (left co

lum

n).

Ap

PE

ND

IX T

wo

Cro

ssin

g th

e F

ron

tiers

Mn

emo

syn

e Betw

een

Art H

istory

an

d C

inem

a

Th

e Arra

nB

emen

t

As a history o

f images aim

ed at understanding the conception and

fate of w

orks, art history mu

st avail itself of som

ething that is n

ot,

or n

ot yet, artistic. T

his intuition inspired all Warburg's research,

from his first publications to

his last pro

ject in Mnem

osyne.1 O

n

the large panels stretch

ed w

ith black clo

th o

f his atlas, created

betw

een 1924 and 1929, W

arburg arrang

ed im

ages of disparate

origin: art repro

du

ction

s, advertisements, n

ewsp

aper clippings,

geographical maps, and personal photographs. H

e repeatedly re­

arranged these images, ju

st as he repeatedly rearranged the books

in his library and even the o

rder o

f words and phrases in his w

rit­

ten texts. T

he atlas w

as an instru

men

t of orientation designed to

follow th

e mig

ration

of figures in th

e history of rep

resentatio

n

through the different areas of know

ledge and in the mo

st prosaic

strata of m

od

ern cu

lture. Im

ages bo

rrow

ed from

low

cultu

re

appear here and there th

rou

gh

ou

t Mnem

osyne, becoming insistent

in the last panels (see figures 52 and 97). As early as 1907, how

­

ever, Warburg's study o

f Burgundian tapestries bears w

itness to a

rejection

of art history's norm

ative hierarchies: "If we refuse to

be distracted by th

e curren

t tepd

ency

to regulate art-historical

inquiry by P?stin

g b

ord

er guards, then

it becomes ev

iden

t that

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

mo

nu

men

tal picto

rial forces are at w

ork

with

in this 'in

ferior'

region of N

orth

ern E

uropean applied art:'2

Yet in retracing the fate o

f images in

the history of religion or

science up through their mo

dern

reworkings in advertising or doc­

umentaries, th

e atlas did no

t simply attem

pt an ex

tra-artistic defi­

nition of im

ages. It marked, in particular, photography's invasion

of art-h

istorical discourse and its installation in

the place tradi­

tionally reserved for the tex

t. In Mnem

osyne, photographic repro­

duction is no

t merely illustrative b

ut a general plastic m

ediu

m to

which all th

e figures are redu

ced b

efore b

eing

arrang

ed in

the

space of the panel. In this w

ay, the view

er participates in two

suc­

cessive transformations o

f the original material: different types o

f

objects (paintings, reliefs, drawings, architecture, living beings)

are un

ified th

rou

gh

ph

oto

grap

hy

befo

re bein

g arran

ged

on

the

pan

el stretched

with

black cloth

. Th

e panel is in tu

rn rep

ho

­

tog

raph

ed in

ord

er to create a u

niq

ue im

age, which w

ill be in­

serted into a series inten

ded

to take the form

of a b

oo

k. Th

e atlas,

then

, does no

t limit itself to

describing the migrations o

f images

through the history of representations; it reproduces them

. In this

sense, it is based on

a cinem

atic mo

de o

f tho

ug

ht, o

ne th

at, by

using figures, aims n

ot at articulating m

eanings bu

t at producing

effects.

Kra

cau

er an

d th

e Qu

estion

oj th

e Fra

me

During the 1920s, in

his chronicles of m

od

ern culture and day-to­

day life, published in serial form in F

ranifurter Zeitun8, S

iegfried

Kracauer, discussing th

e sub

ject of th

e ph

oto

-cinem

atic image,

developed a form o

f analysis adapted to the law

s of technical re­

producibility that echoed W

arburg's research. 3 A

ccording to K

ra­

cauer, th

e ph

oto

grap

hic o

r cinem

atog

raph

ic image,

like th

e

painted image for W

arburg, is essentially documentary. F

iction is

bu

t a varnish masking the reflection o

f material existence.

CR

OS

SIN

G

TH

E

FR

ON

TIE

RS

Kracauer's correspondence w

ith Panofsky, w

hich began in th

e

1940s after his imm

igration to the Un

ited S

tates and while h

e was

elaborating his Theory if F

ilm, illum

inates his con

ceptio

n o

f the

cinematographic im

age and the place for a theory of cin

ema in th

e

field of m

od

ern science. 4 O

n O

ctob

er 17, 1949, Panofsky w

rote

to P

hilip Vaudrin, th

e edito

r of O

xfo

rd U

niversity Press, w

hich

would publish K

racauer's bo

ok

in 1960. 5 In the letter, he praised

the p

roject K

racauer was advocating, in

trod

uced

a nu

ance, and

reproached the film historian for dissociating the im

age's narra­

tive and do

cum

entary

functions in basing his th

eory

on

the in­

heren

t con

flict betw

een th

e cinem

atic structu

re and

the tex

t

(betw

een th

e sho

t and

the seq

uen

ce of shots, o

r betw

een th

e

record

ing

of events an

d th

eir staging). According to

Panofsky,

Kracauer w

ould perp

etuate a naively realist conception o

f repre­

sentation. In reducing the basic cinematic unity (the photograph)

to a sim

ple reflection of reality, he ten

ded

to erase any subjectiv­

ity from the im

age in favor of its objective co

nten

t. Wo

uld

n't it b

e

better to

situate this tensio

n, this bipolarity, w

ithin

the p

ho

to­

graph itself? As a K

antian art historian, Panofsky posited th

at the

cinem

atic image reflects n

ot th

e real bu

t the w

ay in w

hich the

cameram

an perceives so

meth

ing

; thu

s on

ly au

teurist cin

ema

wo

uld

be accessible to

iconological discourse. This explains

Panofsky's co

mp

lete lack of in

terest in do

cum

entary

cinema, as

seen in the fam

ous article from 1937 "S

tyle and Medium

in th

e

Motion P

ictures:'6 Th

e history of cinem

a, like that o

f art, can pre­

sent itself as a history of form

s and styles only if it has been con­

ceived beforehand as a history of artists.

On

Novem

ber 6, 1949, Kracauer responded briefly, asserting th

at

Panofsky had n

ot com

pletely un

dersto

od

him. If, as his interlocu­

tor had noted, th

ere is no

discontinuity betw

een photography and

cinem

a in his co

ncep

t of th

e image, th

e cinema, red

uced

to th

e

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

ultimate co

mp

on

ent o

f the photograph, cann

ot sim

ply reproduce

app

earances o

f the w

orld

. Ph

oto

grap

hy

does no

t copy natu

re;

it metam

orphoses it. Far from

being a simple slice o

f reality, it re­

tains and reveals wh

at Kracauer calls elsew

here "the m

on

og

ram

of history": "T

he last im

age of a p

erson

is that person's actual his­

tory .... This history is like a m

onogram th

at condenses the n

ame

into a single graphic figure which is m

eaningful as an orn

amen

e'7

Th

e critic's task would therefore be to decant the cinem

atic shot

(the basic film

ic unity, the cin

ematic stru

cture) o

f its narrativ

e

fun

ction

in o

rder to

isolate th

e surfaces with

wh

ich it is m

ade

and pro

du

ce, by exp

lorin

g th

e wo

rld o

f factuality revealed by

this break in the film

ic continuity, a historical phenomenology o

f

surfaces. 8

Kracauer conceived o

f the phenomenology o

f the photograph

(and by exten

sion

the p

hen

om

eno

log

y o

f cinema) as an experi­

ence o

f the u

nreal d

imen

sion

of reality: "in

illustrated

maga­

zines," he wro

te in his articles for FranJifurter Z

eitung, "people see

the very world th

at the illustrated m

agazines prevent them

from

perceiving."9 This represents the paradoxical m

echanism o

f disen­

chan

tmen

t that designates b

oth

a state of lucidity in th

e face of

images o

f mo

dern

reality and the loss of the irreducible aura tied

to m

emo

ry o

f the past. In turn

ing

framing into the p

hen

om

eno

­

logical revelation of the "im

aginary" con

tents o

f reality, Kracauer,

carrying on

the th

ou

gh

t of B

ela Bala.zs, conceives o

f the fram

e

(Ausschnitt) as a "settin

g at a d

istance" (E

ntjremdung) o

f reality

and links up directly with A

lberti's construction of istoria. In O

n

Painting (1435), A

lberti wrote: "F

irst of all about w

here I draw

. I

inscribe a quadrangle of right angles, as large as I w

ish, which is

con

sidered

to b

e an op

en w

ind

ow

thro

ug

h w

hich I see wh

at I

wan

t to paine'lO

Thus o

n D

ecemb

er 17, 1943, in praising Panofsky's A

lbrecht

Durer, published th

at same year, K

racauer intuitively referred to

28

0

CR

OS

SIN

G

TH

E

FR

ON

TI

ER

S

the effects o

f framing produced by th

e text. "It's as if," he wro

te

to Panofsky, "o

ne w

ere looking at a distan

t landscape through a

hole in a wall:'11 C

onsidering that his analysis of im

ages need

ed to

find efficacious analytiC in

strum

ents in th

e iconological curren

t

in art history and that, symm

etrically, his research into

the images

of m

od

ern cu

lture an

d day-to-day life arose, at th

e crossroads

betw

een p

hen

om

eno

log

y and history, from

an iconology of th

e

photographic, Kracauer, d

urin

g th

e 1940s and 1950s, sou

gh

t to

ally himself w

ith the W

arburg school. But this w

as to be a story of

missed opportunity. T

he correspondences he began w

ith Gertru

d

Bing, E

dgar Wind, and E

rnst Gom

brich led nowhere, and his pro­

longed exchanges with

Panofsky alw

ays retained a slight ton

e of

incompn~hension. T

hrough the problematic o

f the photographic,

Kracauer, in reducing th

e basic cinematic u

nit (the photograph)

to its d

ocu

men

tary d

imen

sion

, con

tradicted

the n

eo-K

antian

principles of P

anofsky's iconology, for which the im

age, wh

ether

ph

oto

grap

hic o

r picto

rial, always refers in th

e final analysis to

a subject.

Wh

at Kracauer so

ug

ht, h

ow

ever obscurely, th

rou

gh

his ex­

changes with

Warb

urg

's followers w

as con

tact with

Warb

urg

's

thoughts about images. In the arran

gem

ent o

f Mnem

osyne, the last

stage of W

arbu

rg's iconology, th

e do

cum

entary

aspect o

f the

image is indeed revealed through the process o

f photomechanical

reproduction. But the sim

ilarities end

there. In the panels of his

atlas, Warburg in

tend

ed to

activate the im

ages' latent effects by

organizing their juxtaposition against the black grounds he used

as a conductive medium

. In describing his manipulations in a 1927

note, he used the metap

ho

r of electrical conductivity:

Th

e dynamogram

s of an

cient art are h

and

ed d

ow

n in a state o

f max­

imal ten

sion

bu

t un

po

larized .w

ith regard

to th

e passive or active

energy charge to th

e responding, imitating, o

r remem

berin

g artists.

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

It is only the contact w

ith the new age that results in polarization

.

This polarization c an lead to a radical reversal (inversion) of the

meaning th

ey held for classical antiquity. 12

Warburg's th

ou

gh

t diverges from

Kracauer's in th

at the latter con­

ceived of th

e image as a static p

hen

om

eno

n, based o

n th

e no

tion

of th

e frame (his analysis o

f the cin

ema in this reg

ard depends, as

Panofsky rightly n

oted

, on

the cu

lt of th

e photographic), whereas

Warb

urg

con

sidered

the im

age a cin

ematic stru

cture, w

ithin

a

problematics o

f mo

vem

ent, o

r mo

ntag

e.

Eisen

stein a

nd

the T

heo

ry of M

on

tag

e

In 1926, in a tex

t titled "B

ela Fo

rgets th

e Scissors," E

isenstein,

criticizing the role th

at the G

erman

film th

eorist g

ranted

to th

e

figurative con

tent o

f the im

age, asserted, as h

e wo

uld

so man

y

times after, th

e similarities b

etween

cinem

a and mo

ntag

e. In re­

turn

ing

cinem

a to th

e plastic system

of easel p

aintin

g, B

alazs

would p

rod

uce w

hat E

isenstein called the "starism

" of th

e image

itself. 13 N o

w th

e image is b

ut a frag

men

t amo

ng

oth

er fragments.

Th

e essence of th

e cinem

a resides no

t in images b

ut in

the rela­

tion

amo

ng

images, an

d th

e dy

nam

ic imp

ulse, o

r mo

vem

ent, is

bo

rn o

f this relationship.

Fo

ur years later, in a ch

apter fro

m D

er Geist des F

ilms (T

he

spirit o

f the cin

ema) [1930]) titled

"No

ideo

gram

s!," Balazs an­

swered

Eisenstein. T

he R

ussian cinem

a, he wro

te, was to

o m

uch

like a tho

ug

ht process. T

o return

cinem

a to ideogram

s was to

brin

g

it back to th

e mo

st primitive type o

f written

language:

Too often, the R

ussians succumb to this very evident danger of

film hieroglyphs. For exam

ple, wh

en, in Eisenstein, the statue of the

tsar is knocked off its pedestal, this symbo

lizes the fall of tsarism.

When the shattered fragm

ents come back together, it sym

bolizes

CR

OS

SIN

G

TH

E

FR

ON

TIE

RS

the restoration of bourgeois power, and so on. T

hese are all symbols

that mean som

ething, like, say, the C

ross or the paragraph sign or

Chinese ideogram

s:

Now

, images ought not to sym

bolize ideas, but rather to fashion

or stimulate them

. Ideas arise within us as logical consequences and

not as symbols or already form

ulated ideograms in the im

age. Oth­

erwise m

ontage is no longer productive. It becomes a production of

rebuses and riddles .... We're show

n ideograms and dissertations in

hieroglyphics. Cinem

atic forms of this sort m

ake film regress to the

most prim

iti ve forms of the w

ritten sign.l4

We can

infer fro

m B

alazs's reply

wh

at Eisen

stein's th

ou

gh

t

shares with

Warb

urg

's: sequ

ences o

f images are u

sed like id

eo­

grams in

Mnem

osyne to p

rod

uce a n

ew art-historical language th

at

is similar to

Eisen

stein's visual sy

ntax

. Th

e very

dev

elop

men

t

of th

e con

cept o

f the interval o

n w

hich

the stru

cture o

f the atlas

rests, wh

ich w

ou

ld rem

ain th

e do

min

ant co

ncep

t of tw

entieth

­

centu

ry m

on

tage, d

ates from

1920s Ru

ssian film

theo

ry. IS In

Mnem

osyne, the su

bjectiv

e dim

ensio

n th

at Panofsky assigned to

the co

nten

ts of th

e image is displaced am

on

g th

e images. T

heir

con

tents are p

ho

tog

raph

ic or d

ocu

men

tary; only th

eir insertio

n

in a seq

uen

ce of im

ages transfo

rms th

em in

to unities o

f expres­

sion. With

in th

e panel, the frag

men

t has no

separate existence; it

is the specific rep

resentatio

n o

f a gen

eral them

e run

nin

g th

rou

gh

every elemen

t and leading to th

e form

ation

of an "overall global

image effect" co

mp

arable to

Eisenstein's O

braznost:

Unlike "representation" (izobrazenie), the "im

age" (obraz) cannot be

defined in terms of figurativity. R

ather, the image is "m

eaning"

understood as a condition of the w

ork and as its finishing point. The

construction of the work (w

hether literary, cinematic, pictorial,

musical) aim

s at produCing an overall "im

age effect:' It is precisely

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

M

OT

ION

this quality of th

e wo

rk -

in its definition as a sem

antic satu

ration

obtained thro

ugh th

e conversion of m

eaning into a signifying system

on

several levels -th

at Eisen

stein was d

esign

ating

with

the term

Obra

znost ("im

ageness" o

r "imaginicity").1

6

In a 1929 text titled "B

eyond the S

hot" -w

ritten w

hen

War­

bu

rg w

as wo

rkin

g o

n M

nemosyne and published as an afterw

ord

to

a bo

ok

by Nau

m K

aufman o

n Japanese film

-E

isenstein develops

the n

otio

n o

f the "h

ierog

lyp

h" o

n w

hich

Bal.hs w

ou

ld base his

1930 critique. Th

e text begins like a syllogism

:

Cinem

a is, first and foremost, m

on

tage. [ ... J

And Japanese cinem

a is quite unaware o

f montage.

Nevertheless, th

e principle of m

on

tage

may b

e con

sidered

to b

e an elemen

t

of Japanese representational culture.

Th

e script,

for their script is primarily representational.

Th

e hieroglyph. 17

Eisenstein goes o

n to

distinguish two

types of h

ierog

lyp

h in

Japan

ese cultu

re: figurative (simple) an

d co

pu

lative (co

mp

lex).

He th

en p

uts fo

rward

the fam

ous formula w

hereby the com

bina­

tion

of tw

o hieroglyphs is eq

uiv

alent n

ot to

their su

m to

tal bu

t

to th

eir pro

du

ct. If each of th

em co

rrespo

nd

s to an object, th

eir

meetin

g co

rrespo

nd

s to a co

ncep

t: the co

mb

inatio

n o

f two

repre­

sentatio

ns p

rod

uces a th

ird rep

resentatio

n o

f a differen

t natu

re.

Fo

r example:

Th

e represen

tation

of w

ater and of an eye signifies "to

weep

,"

the rep

resentatio

n o

f an ear nex

t to a draw

ing of a d

oo

r means "to

listen,"

\

CR

OS

SIN

G

TH

E

FR

ON

TIE

RS

a do

g and a m

ou

th m

ean "to bark"

a mo

uth

and a baby m

ean "to scream

"

a mo

uth

and a bird mean "to

sing"

a kn

ife and a heart m

ean "sorro

w"

and so on. 18

Th

rou

gh

jux

tapo

sition

, two

ind

epen

den

t motifs are tran

sform

ed

into

the rep

resentatio

n o

f a reality of an

oth

er order. In this way,

a prim

itive m

od

e of th

ou

gh

t (thin

kin

g in

figurative hieroglyphs

and

images) im

percep

tibly

evolves tow

ard co

ncep

tual th

ou

gh

t.

Wh

at's mo

re, in E

isenstein

's exam

ples th

e com

bin

ation

of tw

o

figures pro

du

ces no

t a third

figure bu

t an action. In a similar fash­

ion

, War b

urg

disco

vered

amo

ng

the P

ueb

lo Indians a fo

rm o

f

tho

ug

ht th

at pro

ceeded

strictly fro

m im

ages and

acted th

rou

gh

images. A

nd ifhis jo

urn

ey to

Am

erica can be seen as th

e genesis of

Mnem

osyne, that is because, like E

isenstein interp

reting

Japanese

hieroglyphs, Warb

urg

discovered in the H

op

i a con

cept o

f mo

n­

tage capab.le o

f transfo

rmin

g h

ierog

lyp

hs in

to actio

n -

capable,

that is, o

f setting

them

in mo

tion

.

To explain his idea o

f mo

ntag

e, Lev K

uleshov used the b

rick as

a model: "If o

ne has an idea-phrase, a frag

men

t of th

e story, a link

in the en

tire dramatic chain, th

en this idea is expressed, laid o

ut in

shot-signs, like bricks."19 According to

Eisenstein, this co

ncep

t of

mo

ntag

e as a con

catenatio

n o

f parts, a chain of bricks, is lim

ited to

the ex

ternal aspect o

f the link b

etween

frame and m

on

tage, w

hich

is conceived as the collage o

f a sho

t with

ano

ther sh

ot. In opposi­

tion

to this linear co

ncep

tion

of m

on

tage-rh

yth

m, w

hich he criti­

cized for bein

g m

echan

ical and extern

al, Eisenstein p

osited

the

con

cept o

f montage-collision. H

ere we have n

ot a co

ncaten

ation

bu

t a sho

ck b

etwe

en elemen

ts, on

e that p

resup

po

ses a mo

men

t

of d

ecom

po

sition

prio

r to th

e recom

po

sition

. And th

e ph

eno

mena

of m

on

tage are n

ot lim

ited to a g

eneral articulation o

f the shots;

285

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

they manifest th

emselves w

ithin

the isolated im

age, in the very

continuity of the shot. In its deploym

ent, the image collides w

ith

the boundaries o

f the fram

e, which it explodes in o

rder to propa­

gate itself thro

ug

h a dynam

ic impetus: "Just as a zigzag o

f mim

­

icry," wro

te Eisenstein, "flow

s over, making th

ose sam

e breaks

into

a zigzag of spatial staging."2o

For the N

ative Am

ericans, the zigzag is the graphic form asso­

ciated with lightning and w

ith the snake, w

hich they attribu

ted to

un

tamed

energy. Discussing th

e snake ritual in his 1923 lecture,

War burg described th

e dancers as manipulating the reptiles like

Eisensteinian hieroglyphs, like m

on

taged

images, associating th

e

hu

man

form

with

the sy

mb

ol o

f mo

vem

ent em

bo

died

in th

e

snake. 21 A

nd it was th

rou

gh

the In

dian

ritual, by a "co

llision

effect," that W

arburg would recognize in the serp

entin

e figure a

sign of the atten

tion

paid by Renaissance artists to the representa­

tion of m

ov

emen

t, of w

hich the Laocoon would b

ecom

e for him

the em

blematic im

age (see figure 28). Eisenstein explained th

at

the Laocoon is the to

tem o

f mo

vem

ent because it's an im

age pro­

duced by montage. 22 T

he sculptural group is a rep

resentatio

n o

f

un

interru

pted

sequential displacements aim

ed at juxtaposing ex­

pressions that appear only in succession. In th

e nineteenthbc;~ tury, D

uch

enn

e de Boulogne's attem

pts to

comp~a-(~(J~~t im

age of L

aocoon's face through photography -by co

rrecting

his

expressions and avoiding the an

atom

ic and muscular contradic­

tions -only p

rod

uced

expressionlessness. As a cinem

atic figure

that brings succession to

simultaneity, th

e Laocoon is no

t only a

mo

ntag

ed figure b

ut a figure o

f montage; and th

e snakes, beyond

their pathetic signification, have a formal function in th

e compo­

sition: that is, they hold th

e group tog

ether by outlining th

e con­

catenations of the different parts o

f the "shot!'

If the snake is the figure o

f montage, D

ionysus, torn

into

pieces

by the Titans and later resuscitated from

his scattered limbs, is its

28

6

CR

OS

SIN

G

TH

E

FR

ON

TIE

RS

God: "W

e are at on

ce remin

ded

of th

e myths and m

ysteries of

Dionysus, o

f Dionysus being to

rn to

pieces and the pieces being

recon

stituted

in th

e transfig

ured

Dionysus. H

ere we are at th

e

very threshold of the art o

f theatre which in tim

e was to b

ecom

e

the art o

f cinema:'23 In the light o

f Eisenstein's parable, C

retinetti

che bello!, a burlesque story of d

ismem

berm

ent staged by A

ndre

Deed

in 1909, ap

pears as

a prim

itive m

etaph

or o

f mo

ntag

e.

Cretin

etti, a clownish dandy, is chased to

the co

un

try and to

rn

apart by a tro

up

e of love-crazed furies played, in k

eepin

g w

ith

the codes o

f po

pu

lar comedy, by m

en in w

om

en's clothing; h

e

then

, thro

ug

h th

e help

of special effects, collects his scattered

limbs,_ dusts off his trousers, and continues o

n his w

ay, whistling

(figure 106).24 Th

e ritual action has been

changed into

a figura­

tive motif, th

e sacrificial knife into

a film ed

itor's scissors. T

he

break

-up

and reassembly o

f the b

od

y o

f Cretin

etti-Dio

ny

sus is

the m

ythological dressing of a co

ncep

t of th

e image, b

orn

with

the cinem

a, that p

roceed

s no

lon

ger from

imm

obility bu

t from

motion.

Kra

zy K

at a

nd

the D

econ

structio

n o

f the S

urfa

ce Pla

ne

Wh

en W

arbu

rg w

as developing Mnem

osyne, Geo

rge H

erriman

was publishing in th

e Hearst n

ewsp

apers a com

ic strip im

bu

ed

with

figurative and my

tho

log

ical elemen

ts of H

op

i cultu

re. In

it we find, q

uite unexpectedly, effects o

f the b

reakd

ow

n o

f the

frame sim

ilar to those in the atlas (figure 107). K

razy Kat's adven­

tures, broad variations around a Single scenario, take place in the

Painted D

esert belo

w th

e Black (o

r "ench

anted

") Mesa, w

here

Warburg had recently w

itnessed Native A

merican rituals. Ignatz

Mouse hurls a brick at K

razy Kat, w

ho takes this aggression as a

gesture of love, w

hile Offissa P

upp, the police dog secretly in love

with

Krazy, tries to prevent the brick throw

ing by pu

tting

Ignatz

into

priso

n. 25 In K

razy Kat, th

e brick

is no

t, as in Kuleshovian

Figure 1

06

. C

retin

etti che b

ello

!,

Andre D

eed, 19

09

.

Figure 107.

George H

erriman, K

razy K

at,

Su

nd

ay p

l. 2, A

ug

ust 1

92

2.

CR

OS

SIN

G

TH

E

FR

ON

TI

ER

S

mo

ntag

e, an elemen

t of co

nstru

ction

: it serves a prin

ciple o

f

destru

ction

. As in

the atlas p

anels, th

e fragm

entatio

n o

f the

surface plates in the K

razy Kat panels m

arks the appearance o

f a

montage-like w

ay of thinking. O

ne m

ay therefo

re infer that th

e

mech

anism

of M

nemosyne w

as bo

rrow

ed fro

m th

e cosmological

montages o

f the H

op

i sand paintings: it reproduces the m

igration

of im

ages thro

ug

h art history th

e way th

e Indians represented the

circulation, enco

un

ter, and mu

tation

of th

e wo

rld's in

ner forces

(figure 108).

So mu

ch for th

e origin of M

nemosyne. W

hat w

as its fate?

Jean

-Lu

c Go

da

rd a

nd

the D

estiny o

f Ima

ges

Ku

rt Forster, o

ne o

f the first p

eop

le to u

nd

erscore th

e imp

or­

tance o

f the A

merican

Indian episo

de in W

arbu

rg's researches,

drew

a parallel b

etween

Mn

emo

syne an

d th

e dev

elop

men

t of

ph

oto

mo

ntag

e amo

ng

the avant-gardes o

f the 1920s. 26 B

enjamin

Buchloh p

laced th

e Bilderatlas in

the co

ntex

t of th

e erup

tion

(thro

ug

h p

ho

tog

raph

y) o

f the archive in co

ntem

po

rary artistic

practices, and com

pared

it to Gerh

ard R

ichter's Atlas.27 B

ut it is

pro

bab

ly in

cinem

a that w

e wo

uld

find the d

eepest reso

nan

ce

with

Warburg's undertaking: as in th

e works o

f Yervant G

ianikian

and Angela R

icci Lucchi,28 and especially in

Jean-Luc G

c.dard's

Histoire(s) du cinem

a, in which film

, by exiling itself from its place

of origin, becom

es confused with

the exploration o

f its ow

n past

and in which th

e superimpositions and juxtapositions th

at video

makes possible serve th

e same p

urp

ose as th

e dislocation of plane

in Mnem

osyne. On

six occasions, in P

assion, Grandeur et decadence,

Kin

a L

ear, On s'est tous d

ifilis (an adv

ertisemen

t for Girb

aud

),

JLG

/JLG

, Histoire(s) du cinem

a 4B: Les Sianes parm

i nous,29 Go

dard

quotes a text by P

ierre Reverdy called "L

'Image":

Figure 1

08

. A

ltar o

f the

Antelope P

riests at

Cipaulovi from

J esse Walter Few

kes, Tusayan

Snake C

eremony (1

89

7).

CR

OS

SIN

G

TH

E

FR

ON

TIE

RS

The im

age is a pure creation of the m

ind.

It cann

ot arise from

a comparison b

ut from

the juxtaposition of tw

o

mo

re or less distant realities.

Th

e more distant and right the relationship betw

een the two

juxta­

posed realities, the stronger the image w

ill be -the m

ore emotional

power and poetic reality it w

ill have.

Tw

o entirely un

related realities can

no

t be usefully juxtaposed. N

o

image w

ill be created.

Tw

o constructed realities cannot be juxtaposed. They are opposed.

Rarely is any force obtained from

this opposition.

An im

age is strong no

t because it is brutal or fantastic -

bu

t because

the. association of ideas is distant and right. 30

This is h

ow

Godard describes cinem

a, and it could likew

ise be a

description of M

nemosyne.

Figure 1

09

. A

by Warburg and a H

opi Ind

ian

,

win

ter 1

89

5-1

89

6. A

by Warburg co

llectio

n.

Ap

PE

ND

IX

TH

RE

E

Mem

orie

s o

f a J

ou

rn

ey

Th

ro

ug

h th

e P

ueb

lo

Reg

ion

Aby W

arbu

rg

Unpublished N

otes Jor the K

reuzlin8en Lecture on the Serpent R

itua

l

(1923)*

"The original tex

t, 115 typ

ewritten

pages with

additions in W

ar­

burg's hand, is in the author's archive at the W

arburg Institute in

London u

nd

er catalog nu

mb

er 93.4. Warburg's h

and

written

ad­

ditions are in italics; variants are indicated by slashes. Wo

rds in

square brackets are the (F

rench) translator's. Qu

estion

marks in

brackets indicate an illegible word. A

ll crossing ou

t and underlin­

ing are Warburg's.

293

Figure no.

Dra

ft of the 1

92

3 le

cture

, with

Warburg

's ha

nd

writte

n a

nn

ota

tion

s (title page).

Translation on page at rig

ht.

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

Help! 8 A

ugust 9

23

Done! 11 A

ugust 23

Sketches tha

t should never be printed

begun March 16, w

ritten while still on opium

Mem

ories of a Jo

urn

ey Through the P

ueblo Region

(Fragm

ents / dusty docum

ents / on the psychology /

the artistic

practice / of prim

itive man / of the P

ueblo Indians of North A

merica)

The cifterlife of prim

itive ~lture /

civilization / of the P

ueblo Indians.

Kreuzlingen

Docum

ents drawn fro

m the culture of prim

itive man, on the problem

of sym

bolic connections

10 April, 923

Becom

ing an

d decline of the space of th

ou

gh

t

creation destruction

27

Oct. 9

23

The lecture given is on linen paper a

nd

is contained in a large gray

envelope

It's a lesson from

an old book:

the kinship of Athens a

nd

Oraibi

28

VII 9

23

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

Warburg

[?] 21 [?] IV

923

addition if 26 IV

I do

no

t wan

t my p

resentatio

n o

f images from

the life o

f the

Pueblo Indians in

No

rth A

merica, o

n A

pril 21, 1923, in Kreuzlin­

gen, Bellevue, to

be taken in any w

ay as "results" -I am

against

this exp

ression

here, since H

err Dr. K

urt B

inswanger 1 invited

Pasto

r Sch

latter to m

y lectu

re in th

ese terms w

ithout my being

aware if it -

no

t, then

, as the "results" o

f a supposedly superior

knowledge o

r science, bu

t rather as th

e desperate confessions of

someone seeking red

emp

tion

from a state in w

hich his attemp

t at

spiritual elevation has been arrested by / in /

the compulsion to

be con

nected

through a real or imaginary incorporation. T

he cen­

tral pro

blem

should be understood as the catharsis of the b

urd

en­

som

e on

tog

enetic co

mp

ulsio

n to

ward

a sensorial po

siting

of

causes. I also do no

t wan

t the slightest trace o

f blasphemous pseu­

doscience to be found in this comparative search for th

e eternally

con

stant Indianness w

ithin the helpless human soul. T

he im

ages

and words o

ug

ht to

be a help to

those wh

o com

e after us, in their

attemp

t to reflect o

n th

emselves in o

rder to

defend themselves

from the tragic aspect o

f the tension / the split /

betw

een /

mag­

ical / instinct and inhibition /

discursive logiC. T

he confession o

f

an incurable schizoid, deposited in

to th

e archive of the doctors o

f

the soul.

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

Plan I2

Washington

Trip to

Chicago

Denver

Colorado S

prings

Excursions to th

e cliff dwellings

Durango

Mancos

Wetherill R

anch M

ancos Canyon

Santa Fe and A

lbuquerque

San Ilslefonso

Cochiti

Laguna

Cubero

Acom

a

Albuquerque

Zuni

California in

termezzo

Pasadena

Coronado B

each

San Francisco (universities)

Flagstaff

Grand C

anyon

Holbrook

Keam

s Canyon (H

ans Guck in die L

uft [Johnny head-in-the-air])

with

Am

erican schoolchildren

Th

ree villages of th

e mesa

Th

e Hem

is kachina dance in O

raibi (rattlesnake dance, same

location)

Magical totem

ic kachina dance

[?)

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

Slides II 24 III 1923

1. M

ap (I) D

esert steppe

2.} P

lastic arts

3. C

liff dwellings (2, 3)

AlehiteetM

le

4. S

anta Fe (5)

5.} T

ypes of houses, flat village im

ages

6. L

aguna (8, 9)

7. G

irl with jug (10)

ceramics and ornam

ent

8.} P

ottery (79a, 79b) sym

bol 1 the pottery. W

ashbasin

9.

10. O

raibi, interio

r (44)?

24?

11. } 12.

Cleo Jurino (61 and slide to be m

ade)

13. K

iva (66) [?)

and painting

14. Z

uni landscape (17)

irrational, mystical el.

Kachina?

plastic art

Cosm

ological synthesis

Painted im

age 1 serpent

Cosm

ic rhythm [?]

15. T

ypical Zuni. P

hoto taken with difficulty (19)

16. A

coma, view

(12)

17. A

coma, door o

f the church (13)

18. A

coma, church in

terior (14a)

18a. L

adder at the edge of a field

MIM

ET

IC E

LE

ME

NT

} [?] (W

abai)

19.) 20.

San Ildefonso, mim

etic hunting magic (5

7-5

9) (60

-60a)

21. m

other 1 all animals

Region o

f absolute paganism, far from

the railroad, culture of the

three pagan high plateaus

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

22. Holbrook, railroad tracks (20)

23. Train car (22)

)

24. Navajo w

eaver wom

an (25 ff.?)

25. Mr. K

earn in front of his house (29)

26. Mesa (37)

27. Walpi (38)

28. Street in W

alpi (39)

29. Oraibi, old m

an (41)

30

-39

. Hem

is kachina dance (45

-54

)

40. Dance spectator

41-43. Walpi, snake dance

44. Uncle Sam

(79)

45. Kreuzlingen, church

Laocoon

Asclepius

wheel

Oraibi

[?]

Children from

Keam

s Canyon

[names?]: [?] D

ale, Fewkes, H

arrison, ... railroad

[SK

ET

CH

OF

TA

BL

E O

F C

ON

TE

NT

S]

Polarity, M

agic-Architectonic

Problem

of th

e Contam

ination of C

ultures Am

ong the Pueblos

Pueblo C

ulture in Relation to th

e Clim

ate

Dichotom

y of P

ueblo Culture (M

imicry, C

osmology)

Fabulous T

hinking -D

esperate Attem

pt at O

rder

Causal T

hinking Em

erging from T

otem L

ineage

Conscious M

an as Middle P

oint Betw

een Systole and D

iastole

Plastic A

rts, Betw

een Mim

icry and Science

Kachina D

ance (General)

Hem

is Kachina D

ance (O

raibi)

Manipulating-C

arrying (Binding-S

eparating)

Incorporation

Snake M

agic, Essence

Mythical T

hinking -D

etermination o

f Co

nto

urs

Phobic G

rounds for This

Snake, W

hy a Prim

ordial Elem

ent?

Typology, E

ssence

(Warburg L

ibrary)

30

0

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

Th

e Problem

Wh

y did I go? W

hat attracted m

e?

Kreu

zlin8en

14 March 9

23

Still on opium

Outw

ardly, in the forefront o

f my consciousness, the reason I

wo

uld

give is that th

e emp

tiness o

f the civilization o

f eastern

Am

erica was so rep

ellent to

me th

at, som

ewh

at on

a wh

im, I

un

derto

ok

to flee toward natural objects and science, so I traveled

to Washington to visit the S

mithsonian Institution. T

his is the brain

and scientific conscience of eastern A

merica, and indeed in

Cyrus

Adler, M

r. Hodge, F

rank Ham

ilton

Cushing, and above all Jam

es

Mooney (as w

ell as Franz B

oas in New

York), I im

mediately found

pioneers in the research on

the indigenous people; they op

ened

my

eyes to the universal significance o

f prehistoric and "savage" Am

er­

ica. So much so th

at I resolved to visit w

estern A

merica, b

oth

as a

mo

dern

creation and in its Hispano-Indian substrata.

A w

ill to th

e Ro

man

tic was co

mp

ou

nd

ed w

ith a d

esire to

occupy myself in a m

ore m

anly way than had yet been g

ranted

to

me. I w

as still feeling anger and shame over the fact that, during

the tim

e of th

e cho

lera, I did no

t ho

ld o

ut in H

amb

urg

as my

bro

ther and m

y dear wife's fam

ily did.

Aside from

this, I had developed a do

wn

righ

t disgust with

aes­

theticizing art history. Th

e formal co

ntem

platio

n o

f images -

no

t

conceived as a biologically necessary pro

du

ct situated betw

een

~the practices o

f religion and art (which I understood only la

ter)­

seemed

to me to give rise to

such a sterile trafficking in w

ord

s

that after m

y trip to

Berlin in

the su

mm

er of 1896 I tried

to

switch over to

medicine.

I did no

t yet have any notion that this A

merican jo

urn

ey w

ould

make so clear to

me p

recisely th

e org

anic in

tercon

nectio

ns be­

tween

art and religion among prim

itive man, and th

at I wo

uld

so

30

1

Sassetti,

Durer. ..

Antiquity,

Luth

er

on opium

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

distinctly see the identity, or rather th

e indestructibility, of prim

i­

tive man, w

ho remains the sam

e thro

ug

ho

ut all tim

e, such that I was

able to demo

nstrate th

at he is an organ in the cu

lture o

f the Floren­

tine early Renaissance as w

ell as later in the G

erman R

eformation.

A book and an im

age gave me th

e scientific grounding for my

trip and a certain vision of its goal. T

he book, w

hich I found at the

Sm

ithsonian Institu

tion

, was th

e wo

rk b

y Nordenskii::ild o

n th

e

Mesa V

erde, the region in n

orth

ern C

olorado wh

ere the rem

ains

of th

e enigmatic cliff d

wellings are found -

a wo

rk o

f very high

quality, animated by a scientific spirit, w

hich alone I have to thank

for the solid foundation of m

y efforts.

Th

e romantic vision that aroused th

e desire for adventure was

a very bad large-format color p

rint show

ing an Indian standing in

front of a cliff face in

which o

ne o

f these villages has been

built.

This gave m

e a first impression and p

rom

pted

a nu

mb

er of serious

questions, which I p

ut to the g

entlem

en o

f the Sm

ithsonian Insti­

tutio

n, w

ho

imm

ediately

drew

my

attentio

n to N

ordenskii::ild's

bo

ok

. Wh

en I asked w

heth

er it mig

ht n

ot b

e possible to visit

these cliff dw

ellings, I was told th

at in w

inter th

ere were g

reat

difficulties and it was already th

e end

of N

ovember: b

ut this only

attracted me as som

ething to b

e overcome. A

lso because I had just

finished my m

ilitary service, which I had carried o

ut w

ith great

enthusiasm b

ut w

hich finally end

ed in

failure, since wh

en I left I

was only a noncom

missioned officer. I had seen anti-S

emitism

in

its insidious form

as a profound danger for Germ

any, and in this

regard I would like to

stress that I never felt I had the necessary

qualities to make a truly good reserve officer, b

ut that th

ere were

others who w

ere even worse b

ut w

ho

were p

rom

oted o

n th

e basis

of their m

ore suitable confession, and above all that truly capable

Germ

an Jews w

ere taken ou

t of the arm

y -w

hich was paid for by

the bloodshed in 1914. A

couple tho

usan

d m

ore Jew

ish officers

and we m

ight have wo

n the B

attle of the M

arne.

30

2

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

In any case, I benefited from the fact th

at the A

merican arm

y

and Am

erican farmers use the sam

e saddles for their horses as ou

r

artillery. And I brough

t with m

e a will to en

du

re stress and strain,

even if no

t in a really heroic form

.

My obse rvations o

f mo

dern

Am

erican civilization also gave

rise to an

oth

er wish, w

hich afforded me th

e mo

st pleasant im­

pressions: I decided to visit A

merican institutions o

f learning, the

schools and universities in the W

est. Th

at I was able to m

ake this

jou

rney

with

ever-ren

ewed

goodwill is so

meth

ing

low

e to

the

ben

evo

lent g

enero

sity o

f the au

tho

rities -in

con

ceivab

le to us

Europeans -

wh

o w

ere, no

doubt, induced to such consideration

by two

very strong recomm

endations, namely from

the secretary

of w

ar and the secretary of the in

terior o

f the United S

tates Kuhn,

Loeb procured these recom

mendations for m

e, two

letters of five

lines at most, w

hich op

ened

every do

or in th

e West to

me. A

nd to

these w

as added an

oth

er very effective recom

men

datio

n from

Seligm

an to th

e railroad mag

nate R

ob

inso

n in C

hicago. I wen

t

on

e afternoon to his office, wh

ere I found an old Am

erican man

wh

o show

ed a restrained energy ben

eath a slightly tired face; he

read the letter, raised his head for a m

om

ent, and asked sim

ply:

"Wh

at can I do for you, sir?" If! had merely offered a few

bland

generalities, I wo

uld

have been

lost. But I im

mediately said to

him

that I w

ould like to have a reco

mm

end

ation

for the governor o

f

New

Mexico, as w

ell as on

e or tw

o o

ther letters to

pro

min

ent

'"

people in the Pu

eblo Indian region, and that I w

ould very mu

ch

~ike to have free travel o

n the A

tchiso

n-T

opeka-Santa Fe line. H

is

answer w

as simply: "A

ll right, sir, you get the letters in th

e after­

no

on

at tw

o o'clock." After w

hich I received in the P

alace Ho

tel

three very valuable letters o

f intro

du

ction

and a pass for the rail­

road. On

ly w

ith this pass was I able to

make m

y repeated excur­

sions into the Indian villages from S

anta Fe.

30

3

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

Th

e Ind

ian

s' Artistic

Cu

lture

The art o

f the Indians appeared to m

e in two

different domains,

which for th

e Indians themselves, how

ever, are on

e unified activ­

ity: in dance and in 811t!tl'lieH

t!tti8H !tH

e: figl:ll !tti I e I epl esent!tti8H

the plastic arts. Both o

f these artistic expressions ftl"e-fl:ffl: mu

st be

integrated as implem

ents into

their religious representations ftftd:

pl!tetiees, which are the rudim

ents of a w

orldview th

at has been

[???] th

ou

gh

t thro

ug

h in

an u

nd

eniab

ly g

rand

iose m

ann

er [illegible

correction J. Hand draw

ings in color made for m

e by an Indian in

Santa F

e, JI:l!tH C

fl!tt!t Cleo jurino, revealed beneath th

e so-called

childish execu

tion

the auxiliary rep

resentatio

ns o

f an ord

ered

imagination, astoundingly identical to

wh

at we find iH

l!ttel I leI

~ in

ancient periods (if Europe and A

thens).

And n

ow

the q

uestio

n arises: In th

e works o

f these b

row

n­

skinned dancers, painters, orn

amen

tal potters, and figurine carv­

ers, should we see autochthonous creations, the thoughts o

f prim­

itive peoples, or do w

e stand befo

re hybrid pro

du

cts assembled

from thoughts o

f South A

merican origin com

bined with a E

uro­

pean supplement? W

e know th

at the latter was in

trod

uced

by the

Spanish at th

e end of the sixteenth cen

tury

and reached the n

orth

of N

ew M

exico, leaving behind a stratum

on

top

of original A

mer­

ican represen

tation

s, over which m

ore recen

tly th

e puritanical

Am

erican culture, with

its civilizing efforts, is also being spread.

From

a philological persp

ective, w

e find ourselves befo

re the

mo

st difficult object imaginable: a palim

psest whose tex

t -even if

we bring it o

ut -

is contaminated. T

his situation is complicated by

the fact th

at today the Indian languages are so rich and distinct

that neighboring P

ueblo villages -th

ere are about thirty

or forty

-can

no

t understand each oth

er and mu

st resort to sign language

or (before that) to S

panish, and no

w to

English.

3

This d

ifference o

f dialects alon

e makes a reliable h

istorical

psychology nearly impossible, and th

e necessary preliminary lin-

-A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

guistic wo

rk w

ould require a lifetime to provide a secure founda­

tion. Since I m

ade these little excursions, this wo

rk has taken o

n

vast proportions for me, but, w

ith respect to the m

igrations of the

Pueblos, it seem

s to have led to relative clarity.4

Wh

at I saw and experienced, then, reflects only the outw

ard

app

earance o

f things, and

I have a righ

t to speak o

f it on

ly if I

begin by saying that this insoluble p

rob

lem has w

eighed so heavily

on

my soul th

at during the time w

hen

I was healthy, I w

ould no

t

have dared to make any scientific statem

ents about it.

But now

, in M

arch 1923, in Kreuzlingen, in a closed institu­

tion, where I have th

e sensation of being a seism

ograph assembled

from

the w

oo

den

pieces of a p

lant th

at has been

transp

lanted

from th

e East in

to th

e fertile no

rthern

Germ

an plains and o

nto

which an Italian b

ranch

was grafted, I let the signs th

at I receive

com

e ou

t of m

e, because in this epoch of chaotic decline even the

weakest has a duty to

strengthen the will to

cosmic order.

(For prim

itive man, anim

als are a fully achieved efflflTie m

aBic

symbol, ,com

pared with

which h

um

an efforts appear fragm

entary

and inadequate.) 15 III 923

Th

e ~ prim

itive cultu

re if the Pueblo Indians reveals to

the

rationalist and deg

enerate E

uropean a means -

which is uncom

­

fortable and painful and therefore no

t readily used -th

at can aid

in fundamentally destroying his belief in an idylliC

, leisurely, and

\ fabulous country as m

an's com

mo

n and prim

al homeland before

~he original sin o

f enlightenment. T

he fabulous, as the ground of

the Indians' gam

es and art, is a symptom

and pro

of o

f a desperate

attemp

t at ord

er over and against chaos, no

t a smiling and pleas­

ant surrender to th

e flux of things.

A fabulous anim

al, apparently the mo

st con

crete pro

du

ct of

a playful fantasy, is som

ethin

g abstract th

at has been

grasped in

statu nascendi with

great and difficult effort. It is a determ

inatio

n

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

of the contours o

f appearances, which, in their transien

t ungrasp­

ability, do no

t allow them

selves to be grasped otherw

ise. Exam

ple:

the snake dance of O

raibi.

It is a region of arid desert. R

ain falls only in August, accom

pa­

nied by heavy storms. If it does n

ot com

e, then

a difficult year of

arduous agricultural wo

rk (corn and peaches) w

ill have been

in

vain. If lightning appears, hu

ng

er will b

e banished for this year.

A snakelike form

, enigmatic m

ovements, w

hich have no clearly

determinable beginning or end, and danger: these are w

hat light­

ning shares with

the snake, which presents a m

aximum

of m

ove­

men

t and a min

imu

m o

f grasp

able surfaces. W

hen

on

e ho

lds

a snake in on

e's han

d in its m

ost dangerous fo

rm -

namely, th

e

rattlesnake -as th

e Indians in fact do, wh

en o

ne lets oneself b

e

bitten

and then

, rather than killing it, takes it back o

ut in

to th

e

desert, in this way h

um

an force tries to

com

preh

end

, thro

ug

h a

sheer grasping w

ith the hands, so

meth

ing

that in

reality eludes

manipulation.

The attem

pt at m

agical effects is thus first of all an attem

pt to

appropriate a natural event in the living likeness o

f its form and

contours: lightning is attracted th

rou

gh

mim

etic appropriation,

unlike in mo

dern

culture, wh

ere it is drawn into the ground by an

inorganic instru

men

t and eliminated. W

hat distinguishes such an

attitud

e tow

ard th

e env

iron

men

t from ours is th

at the m

imetic

image is supposed to

bring about a relation by force, whereas w

e

strive for spiritual and material distance.

Th

e originary category of causal th

ou

gh

t is childbirth. Child­

birth

links the en

igm

a of a m

aterially d

etermin

able in

tercon

­

nection w

ith the inconceivable catastrophe o

f separating on

e crea­

ture from another. T

he abstract space o

f thought betw

een subject

and ob

ject is based on

the ex

perien

ce of th

e severed umbilical

cord.

The "savage," at a loss before nature, is o

rph

aned

and has no

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

fatherly pro

tection

. His courage for causal thinking is aw

akened

in the selection, through elective affinity, of an anim

al-father w

ho totem

ism

gives him the qualities h

e needs in his struggle with nature, quali-

ties that, in com

parison w

ith the anim

al, he finds only in a weak

and isolated way in him

self. This is th

e primal cause o

f totem

ism.

Durkh

eim

Th

e feared snake ceases to be fearsome· w

hen

it is adopted as

a parent. In this regard, it should be recalled that th

e Pueblos have

a matriarchal law

; that is, th

ey seek the cause o

f existen

ce in th

e

irrefutable "Mater certa." T

he rep

resentatio

n o

f the cause -

and

this is the scientific achievem

ent of th

e so-called savage -can shift

betw

een anim

al and hu

man

being. Th

e mo

st starkly visible form

of this_ shift and tran

sform

ation

occu

rs precisely in th

e dan

ce,

thro

ug

h th

eir ow

n m

usic and -as w

ith th

e rattlesnake dan

ce­

even through the appropriation of the living being itself.

Wa

rbu

ro's M

emo

ries of In

dia

n B

oo

ks 16/

III 923

In 1875, my m

oth

er lay deathly ill in Ischl. We had to leave h

er in

the w

orst m

om

ent o

f crisis in a mail carriage draw

n by a red pos-

tilion

, in th

e care of o

ur faithful F

ranziska Jahns, wh

o actually

bro

ug

ht h

er back ho

me to

us, cured

and healthy, in late fall-

despite having been

treated by three Viennese authorities, W

ider-

hofer, Furstenberg, and o

ne other, and by C

atholic sisters, whose

smell I still have in

my nose today.

I sniffed at my m

oth

er's grave illness like aJri8htened animal. In

the unusual state o

f weakness that presaged h

er illness, she seemed

ery strange and uncanny to me as she w

as carried in a litter up

to

Calvarienberg n

ear Ischl, which w

e wan

ted to visit. It w

as on

this

occasion that I saw

for the first tim

e with

my ow

n eyes, in com­

pletely degenerated farmhouse im

ages, scenes from the P

assion of

Christ's life, w

hose tragic and naked po

wer I m

utely sensed.

• inevitable -taboo? h

orro

r?

30

7

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

A single visit to

my pitiful and distraught-looking m

oth

er, in

the co

mp

any

of a vulgar A

ustrian Jewish stu

den

t wh

o served as a

preceptor, created an atm

osp

here o

f inn

er despair that reached its

high po

int w

hen

my grandfather arrived and said to

us, "Pray for

your mo

ther," w

hereu

po

n w

e sat do

wn

on

som

e trun

ks w

ith o

ur

Jewish p

rayer books and m

um

bled

over them.

Th

ere were tw

o possibilities for dealing w

ith th

ese inco

mp

re­

hensible emotions: a delicatessen dow

nstairs, wh

ere for the first

time w

e were given n

on

ko

sher sausage to

eat, and

a lend

ing

li­brary, w

hich

was full o

f Indian novels. I devoured entire piles o

f

these Indian novels at the tim

e, and this was obviously m

y w

ay of

escaping from

an un

settling

presen

t that left m

e helpless. Th

ey

were sm

all editions, in th

e translations by Hoffm

ann, I think.

The painful sensations w

ere abreacted in the fantasy o

f rom

an­

ticized cruelty. I was giving m

yself a protective vaccination against

active cruelty, wh

ich ap

paren

tly b

elon

gs to

the o

nto

gen

etically

necessary self-protective actions with

which h

um

ans are en

do

wed

in th

eir struggle for existence and

wh

ich until fu

rther n

otice lie

ready in the attic o

f the subconscious.

This "ev

olu

tion

regreSS

ive" fou

nd

in th

e perso

n o

f Sle

vo

gt­

with

in th

e framew

ork

of a technically tranquilized artistic config­

uratio

n -

a fertile soil and a vaccin

e against the ag

ent th

at de­

stroys rom

anticized

terror, w

hich

the average ed

ucated

perso

n

needs. 5 He is also th

e illustrator of th

e Iliad, the L

eatherstocking

Tales, and D

on jua

n. 6

Wh

en I traveled to

visit the Indians, I w

as free from

this inter­

est in the L

eatherstocking rom

ance, an

d I saw

virtually no

thin

g o

f

that kind in

the area w

here I found m

yself, for it had ind

eed b

een

the very scene o

f those terrifying battles betw

een th

e Apache and

the w

hite m

en, b

ut after so

me years th

e Ap

ache h

ad b

een d

e­

po

rted an

d tran

sferred in

to th

ose h

um

an zoos called

"Ind

ian

Reservations" o

n th

e Canadian b

ord

er.

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

But an

oth

er piece of this ro

man

ce had been

left in my

mem

ory

by a book, perhaps with

ou

t my

bein

g clearly aw

are of it. If I am

no

t mistak

en, it is by B

row

ne an

d is called

"A Jo

urn

ey to

the

West"; translated from

English, it co

ntain

s crud

e English illustra­

tion

s: and wh

en I w

as pro

bab

ly ab

ou

t sixteen

or sev

enteen

, it

filled my im

agination with

the w

ho

le gro

tesqu

e richness of pio­

neer life in th

e Am

erican W

est, and

this in a peculiarly exciting

and

graphic way.

Wh

en I reread th

e bo

ok

abo

ut seven o

r eight years ago, I was

appalled by its insipid hypocrisy, This in n

o w

ay alters the fact th

at

it affected my

imagination like a kind o

f yeast.

(I wo

uld

like to rem

ark h

ere that n

o b

oo

k had such a tu

mu

ltu­

ous romanticizing effect o

n m

y y

ou

thfu

l imag

inatio

n as B

alzac's

"Petty

An

no

yan

ces of M

arried L

ife," with

Fren

ch illu

stration

s

by ... Am

on

g th

ese illustrations were im

ages of ~dt!Hti~IIt oddities

Jar exam

ple in [7], wh

ich I saw

again befo

re falling ill from

typhus

in 1870 and which played a curious d

emo

niac role in m

y feverish

dreams.}

In mythical th

ink

ing

(see Tito

Vignoli, M

yth an

d Science

7), a

stimu

lus evokes /

e.g. / as a d

efensiv

e measu

re, the /

always

ima8inary /

exciting cause in a maxim

ally intensified / biom

orphic

/ creatu

rely fo

rm, th

at is, wh

en /

e.8. /

a do

or g

roan

s on

its

hinges, on

e believes on

e hears -o

r rather unconsciously w

ants to

hear -

the grow

ling of a w

olf.

~

It is characteristic. of m

ythical thi~king (see Tito

Vi~noli, My~h

~nd Science) th

at a vIsual or aural stlm

ulus sets up a blOm

orphlc

cause in co

nscio

usn

ess in place of th

e real cause, regard

less of

wh

ether and h

ow

the latter is d

emo

nstrab

le in terms o

f scientific

truth

-as, for exam

ple, sounds com

ing

from far aw

ay -an

d this

bio

mo

rph

ic cause, because of its graspable creaturely dim

ensions,

* Copy [?]. W

arburg Library.

19 III 923

mythical

thinkin8

mythical

thinkin8

Phobic m

ythic

imaB

ination as

substitute Jar the

cause

moderately

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

I

N

MO

TIO

N

makes possible an im

aginary defense measure. F

or example, w

hen

a do

or groans in the w

ind, this stimulus produces a feeling o

f fear

in a savage o

r a child: the dog is growling. O

r wh

en the B

afiote

com

pares a lo

com

otiv

e to a h

ipp

op

otam

us,' this is for h

im an

enlightening form

of rationalism

, in th

e sense that h

e is enclosing

this un

kn

ow

n violent anim

al that has com

e storm

ing

in on

him

within the creature th

at he knows, th

at he is used to hu

ntin

g and

shooting. 8 If this defensive fantasy is scientifically inad

equ

ate­

since in th

e case of th

e loco

mo

tive it overlooks th

e fact that

mo

vem

ent o

n rails is restricted

and that th

ere is no

aggressive

will, that is, it does n

ot und

erstand that the m

achine is restricted

-this only reveals th

e difference betw

een m

achine civilization

and primitive culture, w

hose fundamental presupposition is th

at

betw

een o

ne creature and another, it is the hostile and aggressive

human o

r animal personality th

at dominates. T

he m

ore intensely

the physis of this w

ill to attack fills the entire creature, th

e more

inten

se is the defensive im

pulse in th

e on

e attacked. To defend

oneself by con

nectin

g a subject o

r an object to a being with

the

max

imu

m graspable dim

ensions of stren

gth

-this is th

e funda­

mental act o

f on

e wh

o think

s in terms o

f the fabulous in his struggle

for existence.

In primitive m

an, mem

ory

has a biomorphic and com

parative

substitutive function. This is to be understood as a defensive m

ea­

sure in the struggle for existence against living enemies, w

hich the

phobically stimulated brain /

mem

ory / attem

pts to grasp, on

the

one hand, within the m

ost distinct and clearest possible limits and,

on

the other hand, in all their force, in o

rder then to

be able to find

the strongest defensive measures. T

hese are tendencies at wo

rk

beneath the threshold of consciousness.

By m

eans of th

e substituted image, th

e stimulus creating the

'Heinz W

erner, Die U

rspriinBe der M

etapher (Th

e origin of m

etaphor), p. 17.

310

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

impression becom

es objectified and fashioned as the object to b

e

defended against. Wh

en, for exam

ple, the enigmatic locom

otive

is seen as a hippopotamus, it thus acquires for the savage th

e char­

acter of som

ething that his com

bat techniques can defend against.

He could kill it if it charged tow

ard him. H

e does no

t kn

ow

that

there are m

achines, that is, blind, inorganic m

oving beings, which

-b

etween

natural ph

eno

men

a and the hu

man

realm -

have been

pro

du

ced by titans. W

hen

the first lo

com

otiv

e passed thro

ug

h

Mecklenburg and sto

pp

ed at th

e station, the peasants w

aited to

see wh

en a fresh h

orse w

ou

ld b

e pu

t on

the lo

com

otiv

e -an

essentially equivalent biomorphism

, although less straightforward

because of the lim

ited civilization involved.

This is an o

bjectiv

e bio

mo

rph

ism. S

ubjective bio

mo

rph

ism,

wh

ich v

olu

ntarily

and imaginatively co

nn

ects man

with

oth

er

beings, even inorganically, has the sam

e tend

ency

in its wish for

an intensified accumulation o

f force with

respect to

enemies. In

totemism

, for example. T

he elective paternity in totem

ism is based

on

the fact that th

e Indian fighter from the C

oyote clan wishes to

take on

the cunning and strength of this anim

al. Totem

ism is a sub­

jective-phobic function of m

emory. T

he M

oki of the R

attlesnake

clan are able to take hold of a rattlesnake in a dance, w

itho

ut w

ant­

ing to kill it, because th

ey are related

to it. B

ut at the sam

e time

they

believe they

are grasping the o

ne w

ho

carries the lightning

that brings th

em rain.

~

For the m

an whose m

ythic thinking is derived from a b

iom

or­

)hic

-th

at is, an organically defined determination o

f con

tou

rs­

the relation o

f the w

ill to events m

ust b

e explained thro

ug

h the

fact that this d

etermin

ation

replaces the scientifically "verifiable"

cause; it substitutes wh

at is inorganic and unstable with a creature

that is biom

orphically and animistically fam

iliar and observable as

a whole.

Wh

en I try to

establish an order, I con

nect im

ages extern

al to

31

1

Th

e hair of

Fortune,

26 Oct 923

Jalse

Phobic

structural

biomorphism

"differentiation ..

Only lips

without sound

Tragedy o

f

incorporation

phenomenology

f1uctuatin~

limits o

f

personality

Appropriation

by in

corporation;

Ingestion

Saturn

passages [1]

toward the

cosmos o

r the

Tartarus

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

me w

ith each other. T

his entire biomorphism

is a phobiC reflex,

and the rest is a cosmic act that is m

erely binary and no

t refined;

that is, th

e ph

ob

ic reflex as bio

mo

rph

ic imag

inatio

n lacks th

e

capacity to set d

ow

n a num

erically ord

ered cosm

ic image. T

his

objective setting down o

f images is p

resent in these harm

onical 9

tend

encies, as th

ey are found am

on

g th

e Indians and the H

el­

lenists / H

ellenism /

and whose en

orm

ou

s progress in relation to

simple biom

orphism consists o

f the fact that sim

ple biomorphism

acts on the function o

f mem

ory

through / w

ith a / m

agical defen­

sive measure, w

hereas in the attem

pts at "structu

ral" tho

ug

ht the

hand directs no

t a weapon b

ut a to

ol that creates an outline and

gives a visual summ

ary of this phobic biom

orphism, w

hich in any

case cann

ot b

e externalized on

its ow

n as long as it has n

ot b

een

repeatedly presen

ted to consciousness. }

The p

oin

t of d

epartu

re is this: I see man as an anim

al that han­

dles and manipulates and w

hose activity consists in pu

tting

to­

geth

er and takin

g apart. T

hat is h

ow

he loses his org

anic ego­

feeling, specifically because the hand allows him

to take hold o

f

material things th

at have no

nerve apparatus, since they are inor­

ganic, bu

t that, despite this, extend his ego inorganically. Th

at is

the tragic aspect of m

an, who, in handling and m

anipulating things,

steps beyond his organic bounds.

The fall o

f Adam

consisted, first, of the ingestion o

f the apple,

which b

rou

gh

t a foreign body into

him

with incalculable effects;

and, second -and certainly to

the sam

e degree -o

f the fact that

with th

e hoe, which he had to use to

wo

rk th

e earth, he un

der­

wen

t a tragic extension, because this tool did no

t essentially cor­

respond to him

. Th

e tragic aspect o

f man, as o

ne w

ho

eats and

manipulates, is a chapter in the tragedy o

f humanity.

Wh

ence co

me all th

ese qu

estion

s and enigmas o

f emp

athy

with respect to inanim

ate nature? Because for m

an there is in fact

a situation that can unify him

with

something th

at belongs to him

31

2

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

-preC

isely in the act o

f manipulating o

r carrying -b

ut th

at does

no

t flow through his veins. T

he tragic aspect o

f clothing and tools

is the history o

f hu

man

tragedy in the largest sense, and the mo

st

profound bo

ok

written o

n this is S

artor Resartus by C

arlyle.lO

Man can therefore ex

tend

his ow

n delim

ited contours through

manipulating and carrying things. H

e does no

t receive any direct

life feeling from w

hat he grasps o

r carries. This is n

oth

ing

new

to

him, since by n

ature there are already parts o

f him th

at belong to

him

bu

t that have no

sensation wh

en they are rem

oved -nails and

hair, for example -

even though they gro

w before his eyes. Ju

st as

in a n

orm

al state he has n

o feeling for his o

wn

organs. From

wh

at

we call an organ, th

en, he receives only slight signals o

f its pres­

ence, and every day he experiences th

e fact that he possesses only

a very meager system

of signals for processes th

at belong to nature.

He finds him

self in his body like a teleph

on

e girl du

ring

a storm

or u

nd

er artillery fire. Man never possesses th

e right to say th

at

his vital feeling coincides (through a constantly presen

t system o

f

signals) with

the en

tire delim

ited sp

here o

f alteration

s takin

g

place in his personality.

Mem

ory

is bu

t a cho

sen co

llection

of stim

ulu

s ph

eno

men

a

corresp

on

din

g to

son

oro

us en

un

ciation

s (lou

d o

r soft speech).

(Th

at is why I keep in

min

d a p

articular n

otio

n o

f my

library's

purpose, namely as a prim

ary collection for studying the psychol­

ogy of h

um

an expression.) 11

Th

e qu

estion

is: Wh

at is the genesis o

f spoken or p

ictorial

~pressions, by w

hat feeling or p

oin

t of view

, conscious or uncon­

scious, are they preserved in the archive of m

emory, and are there

laws by w

hich they are set down and force their w

ay ou

t again?

Th

e pro

blem

that H

ering

form

ulated

so well -

"mem

ory

as

organized matter" 12 -

should be answered using the m

eans avail­

able in my library, as w

ell as, on

the o

ne hand, th

rou

gh

the psy­

chology of prim

itive man

-that is, m

an reacting in an imm

ediate,

the tragic asp

ect

of clothing as

foreign (8 V

923)

Feeling of th

e

personality in

the [1] tem

poral

mem

ory

Conceptual

differentiation

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

reflexive, and

un

literary w

ay -and, o

n th

e oth

er han

d, th

rou

gh

historical and civilized man, w

ho

consciously remem

bers th

e strat­

ified (historical) formation o

f his ow

n and his ancestors' past. W

ith

prim

itive m

an th

e mem

ory

image leads to

a religious act / that

binds /, with

civilized man

it leads to incorporation inscription.

All h

um

anity

is eternally and at all times schizophrenic. A

nd

yet an attitud

e tow

ard m

emo

ry im

ages may b

e designated on

to­

genetically as prio

r and primitive, w

hile it nevertheless remains

secondary. In the later stage, th

e mem

ory

image does n

ot release

an imm

ediate practical reflex mo

vem

ent -

wh

ether com

bative or

religious -rather, m

emo

ry im

ages are consciously accumulated in

images o

r signs. Betw

een these two

stages stands the treatm

ent

un

derg

on

e by the original im

pression, which can b

e designated as

a symbolic fo

rm o

f thought.

Totem

and Taboo

Th

e TO

T E

M is a w

ay of co

nn

ecting

hetero

gen

eou

s objects

with

the organic, o

riented

tow

ard th

e past. Th

e TA

B 0

0 is a

way o

f distan

cing

hetero

gen

eou

s ob

jects from

the o

rgan

ic, in

relation to th

e present.

missina F

reud, Totem

and Taboo

Ma

teria

lfor th

e Lectu

re [?] In A

pril 1896, du

ring

the second half o

f my jo

urn

ey th

rou

gh

the

Pueblo Indian region, after a tw

o-day train ride from H

olbrook I

arrived at the ranch o

f Mr. K

eam, th

e Indian trader for th

e Moki

Indians, wh

ose villages lie o

n th

ree parallel rock plateaus to th

e

east of this settlem

ent. T

he eastern

mo

st of these villages is called

Oraibi. A

missionary, M

r. Voth, had settled here, at th

e foot of th

e

cliff on which O

raibi is located; his w

ife was S

wabian by b

irth,

\

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

and

she gave me a very friendly w

elcom

e. After m

any

years of

associating with

the Indians, V

oth had gained their trust by fulfill­

ing

his missionary d

uty

as little as possible. He studied th

e Indi­

ans, bo

ug

ht th

e items they p

rod

uced

, and

did a lively business

selling these objects. Because h

e possessed their tru

st to an un­

usu

al deg

ree, it was possible to

ph

oto

grap

h th

em d

urin

g th

eir

dance, wh

ich o

therw

ise they never allow because o

f their aver­

sion

to having th

eir images rep

rod

uced

. Th

at is ho

w I cam

e to

observe and to ph

oto

grap

h a H

emis kachina dance, that is, a dance

mean

t to pro

mo

te the sprouting o

f grain.

It was a m

ask dance. Th

e dancing Indians fell into

two

groups.

Som

e-kn

elt and mad

e mu

sic in femin

ine dress -

in reality th

ey

were m

en -

and in fron

t of th

em th

e actual dancers were lined up;

their d

ance, a slo

w sp

inn

ing

mo

vem

ent, w

as accom

pan

ied by

mo

no

ton

e singing and continuous shaking of rattles. T

he tw

o lines

of m

en converged in th

e direction of a sm

all stone temple, before

wh

ich a sm

all tree deco

rated w

ith feath

ers was p

lanted

in the

ground. These feathers, I w

as told, wo

uld

be taken in

to th

e valley

after the dance cerem

on

y w

as finished. Th

ey are called nakw

a­

kwoci. T

hey

are also found on

the bahos -

instru

men

ts mad

e of

small w

oo

den

sticks used in prayer -to

which they are tied.

Du

ring

the dance, an Indian w

ith lo

ng

hair, com

pletely

cov­

ered in

a lon

g g

armen

t, wearin

g n

o m

ask, walked aro

un

d th

e

dancers and sprinkled them

with flour.

Th

e mask itself is rectangular, divided by a diagonal line; tw

o

adjacent triangles are red and green. Inside th

e diagonal line is a

row

of dots th

at signify rain. At th

e top, on

both sides, are wo

od

en

points cut in a zigzag form

that probably represen

t lightning.

The dance lasts, in various form

ations, from m

orning to evening.

Wh

en th

e ov

erheated

dancers wan

t to take off th

eir ho

t masks,

they step away for a m

om

ent to a rocky ledge by th

e village and

rest there. Th

e dancing continues until late in the evening.

Hem

is kachina

dance

Copy b

ased on

notes from 1896

Hem

is kachina

dance

Kachina m

ask

Oraibi

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

Th

e Indians wh

o take p

art in the kachina m

ask dance do no

t

represen

t gods, bu

t they are no

t simply priests. A

s demoniac in­

termediaries b

etween

the people and the heavenly pow

ers, they

are inhabited by a magical force w

hen

they wear th

e masks.

Their task is to

call do

wn

the nourishing rains th

rou

gh

their

dance and prayer. In the dry steppe o

f Arizona and N

ew M

exico,

the Indians' mo

st arden

t prayers are for thunderstorms, for if the

rain does no

t come in

August, th

e only mo

nth

it can appear, then

the corn does n

ot rip

en and th

e evil spirit of fam

ine approaches,

bringing care and misery for th

e long, hard win

ter months.

In accord

ance w

ith th

eir agricu

lture, th

e kachinas assume a

changing task and significance, as revealed in the different types

of dance and song and above all in

the sym

bolic decorations, dif­

ferent each tim

e, of th

e face masks and th

e dan

ce imp

lemen

ts.

Study o

f the kachina m

asks and of th

e pictorial dance decorations

pertaining to th

em is facilitated by th

e Indians' custom o

f giving

to th

eir little girls, un

til the age o

f abo

ut ten

, wo

od

en p

up

pets

that precisely reproduce th

e costume o

f the kachina dancers. The

Moki Indians call these dolls tihu; o

ne sees th

em in every Indian

house hanging on

the walls o

r on

the ceiling beam

s. They can be

acquired with

ou

t great difficulty. C

hildren are instilled with

a great religious awe o

f the kachinas.

Every child sees th

e kachinas as frightful, supernatural beings, and

the m

om

ent w

hen

a child is enlig

hten

ed as to

the n

ature o

f the

kachinas and is himself taken into the society o

f the masked dancers

represents as the m

ost im

po

rtant tu

rnin

g p

oin

t in his education.

These kachina dances take place publicly in the o

pen

space of

the pueblo. They are, as it w

ere, the popular co

mp

lemen

t to th

at

mysterious and artfully developed idol w

orship that th

e closed

religious bro

therh

oo

d celebrates at night in the underground kiva.

In Indian villages close to the rail line, it is very difficult for a

foreign wh

ite perso

n to see th

e real kachina mask dances, b

ut it is

)

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

com

pletely im

possible to atten

d th

e secret services in th

e kiva , since the rath

er base wh

ite society that usually m

ade up th

e front

gu

ard o

f Am

erican cu

lture d

urin

g th

e bu

ildin

g o

f the railro

ad

abused the Indians' tru

st and created an atmosphere o

f suspicion

that is only to

o understandable.

Th

e inhabitants of th

e Moki o

r Hopi villages located tw

o o

r

three days' jo

urn

ey from

the railw

ay station, and reachable only

by wagon through th

e steppe, raise fewer obstacles to

the obser­

vatio

n o

f their religious practices, alth

ou

gh

adm

ittance to

the

secret services in the kiva is possible only through the m

ediation

of an A

merican w

ho

has befriended th

e Indians long before.

In the missionary H

enry

R. V

oth, wh

o lived a few

kilometers

from the O

raibi mesa, I had the g

oo

d fortune to find a researcher

Oraibi

wh

o had gained th

e com

plete tru

st, on

ly to

o rare in

Am

erican

ethnology, of the Indians in O

raibi. Wh

en I stayed w

ith him

from

April 22 to M

ay 2, 1896, I had his intelligen

t guidance to thank

for a truly living image o

f the religious life of the M

oki.

Th

e masked kachina dance th

at I had the o

pp

ortu

nity

to ob­

serve and from w

hich I will show

a few im

ages in wh

at follows

was th

e so-called Hem

is kachina dance; it was th

e first to take

place after the corn

was sow

n, and it was dedicated to consecrat­

ing the sprouting seeds. We observed this o

ne on M

ay 1, 1896.

1. Ho

w are their villages built?

Organization

a) either in cliffs

b) [or 1 terraced

2. Wh

at activities do they pursue?

a) hu

ntin

g

b) agriculture

c) po

ttery, weaving (?)

317

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

3. Cultic art practices (cosm

ological magic in the art practice o

f

the P

ueblo Indians).

a) vases and weaving

b) wall painting and draw

ing by hand

Transition: K

achinas. House in

Acom

a with

dolls. Figurative

art only a repetition of the art o

f mim

icry.

a) mim

icry of the h

un

t

b) mim

icry of agriculture

c) snake dance

It is here a matter o

f a mim

etic culture with a prim

itive social

form, a h

un

ting

culture combined w

ith a sedentary farm

ing cul­

ture th

at builds houses, on

wh

ich a layer o

f medieval S

panish

Catholicism

has been

spread. On

e has therefore a con

tamin

ated

material.

. How

does Western C

hristian culture distance the pagan element?

The entire practice o

f art is emb

edd

ed in rain and h

un

t magic

and is reflected before the artificial backdrop of S

panish culture.

With

the Pueblo Indians, it is still possible to observe an under­

ground magical pagan art practice am

ong living men. If w

e have

been

with th

e Pueblos, w

e understand above all the underground

layers of classical culture.

Psychology o

f the w

eak forces in man.

A peaceful state in the struggle for existence.

An encom

passing mem

ory.

The snake as a prim

ordial elemen

t of th

e religious representa­

tion and practice of hum

anity.

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

28. III

As village dw

ellers and farmers, th

e Pueblo Indians o

f today, be­

cause of the activities forced on th

em by necessity, have developed

a sense and a practice o

f rhy

thm

(in time) and o

f sym

metry

(in

space). This is because, o

n th

e on

e han

d, as farm

ers they

con

­

sciously live the rh

yth

m o

f the year, with

its passing and becoming,

and, on

the oth

er hand, as artisans, especially in weaving and pot­

tery, they have the principle of harm

onica I plastic or graphic artistic

ability thoroughly in their blood. T

hese technical and agricultural

abilities enco

un

tered a foreign, and specifically a E

uropean, incur­

sion that was undeniably influential; th

e Jesuits bro

ug

ht sixteenth­

centu

ry S

panish civilization to the M

oki, who later u

nd

erstoo

d

the necessity o

f shaking off this element.

Betw

een mim

icry and technique there is plastic art.

I am giving this lecture for another reason. I hope that the m

aterial

will give you the feeling that it deserves to be elaborated scientifi­

cally. And this can happen only if I have the opportunity, w

ith the

help of m

y library in Ham

burg, to examine m

y mem

ories critically. [???]

I observed among the Indians tw

o juxtaposed processes th

at vividly

show the polarity o

f man in his struggle w

ith nature: first, th

e will

to com

pel nature with

magic, through a transform

ation into

ani­

mals; and, second, the capacity to grasp nature, in a vivid abstrac­

tion, as a cosmic-architectonic totality th

at is objectively coh

erent

and tectonically conditioned.

Before setting o

ut o

n m

y trip, I received new and personally

overwhelm

ing elucidations on the psychology of the w

ill to ani­

mal-m

eTam

orphosis from F

rank Ham

ilton

Cushing, th

e pio

neer

/n

d veteran of th

e struggle to gain inSight in

to the Indian psyche.

Sm

oking his cigarettes, this man w

ith a pockmarked face and thin­

ning red hair, whose age n

o one can guess, told m

e ho

w an Indian

See Voth S

nake

Cere m

ony ill. 13

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

on

ce said to him

: Wh

y should m

an b

e higher than the anim

als?

Just look at the antelope, w

hich is no

thin

g b

ut ru

nn

ing

and runs

so mu

ch b

etter than

man

, or th

e bear, wh

ose w

ho

le bein

g is

strength. Men can only do som

ething, bu

t the animal can do w

hat

it is, CO

M P L

ET

EL

Y.

29

.II1

Tw

enty-eight years ago, the railroad did no

t yet go near the M

oki

villages that lie farthest to th

e no

rthw

est. It was necessary to take

a three-day wagon ride to reach them

.

Th

e fact that civilization has d

estroy

ed distance, aside from

facilitating the arrival o

f curious spectators, mu

st have a destruc­

tive effect on

pagan religious life. Th

e misery o

f the Indian who

struggles for his life in the arid stepp

e by planting corn

is elimi­

nated

to th

e exten

t that the land is cultivated using easier methods

of conducting w

ater, or even irrigation. The infertility o

f the soil

wh

en it is n

ot w

atered w

as and is the prim

itive basis of th

e Pueblo

Indians' religiOU

S magic. A

s they did for the Jews w

andering in the

desert un

der th

e guidance of M

oses, the desert and th

e need

for

water p

laya role h

ere as factors in the form

ation of religion.

The relation to

soil and climate m

ust be clearly grasped as a

formative force in

the Indians' religious practices. T

he entire year

is accom

pan

ied by th

e so-called kachina dances -to

which w

e

will retu

rn and o

f which w

e will see som

e images -

and these are

no

thin

g o

ther than parallel actions p

rom

otin

g th

e ripening corn

at particular stages of its developm

ent.

Th

e magic involves th

e app

rehen

sion

, arising from

a wish, o

f a

future event onljr by means o

f figural mim

icry.

With

the images from

my jo

urn

ey to

the Pueblo Indian villages,

we en

ter the region o

f an original pagan religion that in its m

i-

32

0

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

metic and plastic arts has clearly p

reserved n

on

ecclesiastical

primitive elem

ents, over which, ad

mittedly, a stratu

m o

f Mexican

Catholic cu

lture w

as spread in the sixteenth

centu

ry and to w

hich

Am

erican intellectual edu

cation was m

ore recently added

.

In the n

orth

west co

rner o

f the region w

here th

e Indians' cliff

dwellings are located, th

e original elements o

f the pagan world­

view, insofar as it leads to religious practices and representations,

can still be grasped relatively intact, because the railroad -

at least

this was tru

e thirty

years ago -d

id n

ot lead d

irectly to

these

villages.

Thus did o

ne factor o

f their m

agico-religious ceremo

ny

re­

main co

nstan

t in its plastic force: the lack o

f water, w

hich at cer­

tain tim

es every year threaten

s their m

eager ag

ricultu

re in th

e

middle o

f the steppe. If th

e rain does no

t appear in August, th

e

plants with

er in th

e oth

erwise fertile, alkaline soil, and fam

ine

threaten

s. This u

rgen

t distress in th

e desert -

so familiar to

us

from th

e Old

Testam

ent -

which o

nly

the rain g

od

in his grace

can relieve, has been

a factor in the formation o

f religion well into

mo

dern

times, and photography allow

s us to form

an idea of th

e

growth-

and rain-p

rom

otin

g m

agic of this region, in th

e images o

f

the dances th

at the Indians execute at certain times, according to

the rhythm

of th

e growing corn.

Seen from

the outside, this agricultural m

agic has a peaceful

character compared w

ith what w

e kn

ow

of the w

ar dances of the

savage Indians of earlier tim

es, which alw

ays had at their center a

real hu

man

sacrifice. Th

e Pueblos' dances, as w

e will see in

the

Hem

is kachina dance, are also con

nected

to a sacrifice, b

ut in a sub­

limated, spiritualized form

: a human is n

ot sacrificed; rather, a sm

all

tree'

ade into

an interp

reter of th

e prayers, therefo

re a true

pagan tree cult.

The anim

al cult and animal sacrifice, how

ever, still clearly res­

on

ate in the principal harvest dance involving live rattlesnakes.

32

1

AB

Y

WA

R B

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

Co

nscio

us an

d reflectiv

e man

is situated

betw

een sy

stole an

d

diastole. Preh

ensio

n and co

mp

rehen

sion

[Greifen u

nd

Begreifen J.

He m

oves, as it were, in a sem

icircular arc up from

the earth

and

back do

wn

to th

e earth.

And w

hen

he stan

ds u

prig

ht, at th

e vertex

of this arc -

an

adv

antag

e he has o

ver th

e anim

als -th

e transitio

nal states b

e­

tween

instinctive self-loss and conscious self-affirmation b

ecom

e

clear to him

.

Although h

e him

self is an ob

ject of th

e processes of polarity,

he gains an insight in

to th

e transitional phase in which h

e simulta­

neously perceives the self-displacing im

age or sign elem

ents and

fixes them

as such, in im

ages or in w

riting.

Such a background rep

resentatio

n, w

hich accompanies the al­

ternatio

n fro

m systole to

diastole as a transien

t inh

ibito

ry process,

is the ab

straction

of a n

um

erically an

d h

armo

nically

ord

ered

space. A p

art of th

is alternatio

n's d

estructiv

e and

do

min

ating

po

wer is th

ereby

taken

away from

it. Th

e law-like -

which m

eans

the in

evitab

le -asp

ect of this su

ccession

or sed

imen

tation

is

exp

erienced

as redemptive.

Betw

een p

rehen

sion

and com

preh

ensio

n lie th

e ou

tlinin

g and

delimitation o

f con

tou

rs.

Th

e artistic process is situated betw

een m

imicry and science.

It uses the hand, b

ut th

e hand reverts to its o

wn

mo

vem

ent. T

he

han

d im

itates; that is, it ren

ou

nces any rig

ht to

possess the object

oth

er than

by palpably following its o

uter co

nto

ur. It th

erefore

does no

t com

pletely

reno

un

ce tou

chin

g th

e ob

ject, bu

t it does

reno

un

ce taking possession thro

ug

h co

mp

rehen

sion

.

Th

e artistic act is, as it were, a n

eutral grasping th

at does no

t

con

cretely alter th

e relation betw

een o

bject and subject; rather, it

registers with

the eye and rep

rod

uces -

in the plastic arts by actu­

ally touching, for the p

ainter o

nly

by tracing the o

utlin

e.

322

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

2S

.III

Th

e trop

olo

gical attitu

de is a state o

f min

d th

at allows im

age

exch

ang

e to b

e ob

served

in statu n

ascend

i, and in three p

arts,

wh

ere it is a matter n

either o

f a com

plete tro

pe exchange n

or o

f

a metap

ho

r held

clearly at a distance. In medieval tropology, it is

a matter o

f simu

ltaneo

usly

seeing three o

bjects ju

xtap

osed

in a

situation of exchange. In its conscious functioning, th

e mo

men

t

of exchange is placed sim

ultaneously and

directly befo

re the eyes.

Indeed, the retina o

n w

hich the im

ages are pro

jected is, as it w

ere,

a triptych in wh

ich th

ree successive phases of d

evelo

pm

ent are to

be illustrated: th

e situatio

n o

f man

un

der n

ature, u

nd

er the o

ld

law, and u

nd

er the n

ew law

of grace. E

xample: th

e vine from

the

land of C

anaan, the b

ron

ze serpen

t, and the C

rucifixion.

Th

e philosophy of history allow

s us to observe this process o

f

exchange.

It is always a q

uestio

n o

f the ex

tent to

wh

ich th

e metam

orp

ho

­

sis is still conscious. Everything w

e live thro

ug

h is m

etamorphosis.

Th

e cosmological-tectonic elem

ent in th

e Pueblos' sym

bolic and

artistic represen

tation

s corresp

on

ds to

their ch

aracteristics as

sedentary, ho

use-d

wellin

g people w

ho

farm. T

he terraced

layout

of th

eir houses explains the p

resence o

f ladders (they climb d

ow

n

into

their houses fro

m above) and stairs as a co

ncrete fo

un

datio

n

in the schem

a of th

eir wo

rld stru

cture (see th

e draw

ing

by Jurin

o

[on page 198, figure 69]).

Th

e mim

etic elemen

t in their dance art, how

ever, corresp

on

ds

to th

e cultu

re of n

om

ads an

d h

un

ters, for they

are ind

eed also

hu

nters, although n

ot as exclusively so as th

e nomads.

Material for th

e histo

ry o

f the sym

bolic attitud

e in mim

icry an

d

in th

e visual arts.

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

Ma

rch 2

6

Th

e snake as a primordial elem

ent in the religious representations

and practices of hum

anity.

Wh

at qualities does the snake possess such that it w

ould take

its place in religion and art as an elemen

t of com

parison and re­

pression [verdrangender l?

1. In the course o

f a year, it passes through the entire cycle o

f

life, from th

e deepest deathly sleep to th

e mo

st intense life.

2. It sheds its skin and rem

ains the sam

e.

3. It is n

ot capable o

f walking o

n foot, and yet it possesses a

max

imu

m o

f self-propelling force in co

nn

ection

with

the abso­

lutely deadly weapon o

f its poisonous fangs.

4. It p

resents a m

inim

um

of visibility to

the eye, especially

wh

en it changes color to

match th

e desert, according to the law

s

of adaptive m

imicry, or w

hen it darts from the hole in th

e ground

wh

ere it lies hidden.

5. P

hallus.

These are th

e qualities that make it a sym

bol capable of displacing

and repressing wh

at is "amb

ivalen

t" in natu

re, dead and living,

visible and invisible (its attack, with

ou

t prio

r warn

ing

and no

chance of being saved, is disastrous).

Everything enigm

atic and quick.

A com

plex mix

ture o

f maxim

al mobility and m

inimal attack­

able surface.

At th

e same tim

e, exp

osed

to p

eriod

ic death

-like sleep and

sub

ject to th

e metam

orp

ho

sis of its skin. T

hat is

why, in its

repressive function, it is the given comparison for events in w

hich

man

experiences or sees an organic o

r inorganic alteration that is

causally inexplicable.

Sym

bol of etern

ity (Z

rwan). T

he snake as a symbol o

f change

and transformation.

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

Incorporation as a logical act of prim

itive culture.

Incorporation is a process that occurs b

etween a h

um

an being

and a foreign being, anim

ate and inanimate.

The process can b

e compared to the form

ation of a sim

ple sen­

tence. W

e have the sim

ple senten

ce in statu nascendi, in w

hich

subject and object merg

e into

each oth

er if the copula is m

issing,

or annul each o

ther if th

e accent is different. This situation -

an

unstable simple sen

tence m

ade up of three parts -

is reflected in

the religious artistic practice o

f primitive peoples to

the ex

tent

that they tend to

inco

rpo

rate an object as a process parallel to th

at

of syntax. O

r else the subject rem

ains and the object disappears;

it is incorporated. Exam

ple in Vischer. 14 C

om

mu

nio

n rites.

2.15 Appropriation through incorporation. P

arts of th

e object

remain as associated foreign bodies, thus inorganically extending

the ego-feeling. M

anipulating and carrying.

3. Th

e subject is lost in the object in an intermediary state be­

tween

manipulating and carrying, loss and affirm

ation. Th

e hu

man

being is there kinetically bu

t is completely subsum

ed by an inor­

ganic extension of his ego. T

he mo

st perfect form

of th

e loss of

the subject in the o

bject is m

anifest in sacrifice, w

hich inco

rpo

­

rates some parts in

to th

e object. Mim

etic and imitative transfor­

mation: exam

ple: the m

ask dance cult.

Th

e scientific wo

rld view

presupposes that an actual transfor­

matio

n o

f a hu

man

into

a plant, animal, or m

ineral is, by the law

s

of nature, im

pOSSible. T

he magical w

orld

view, how

ever, is based

on

the belief in th

e fluid borders betw

een hum

an, animal, plant,

and mineral, such th

at man can influence b

ecom

ing by means o

f a

voluntary con

nectio

n w

ith the organically foreign being.

Wh

at is the S

ignificance of the sym

boliC act, w

ithin the func­

tion of m

emory, for the m

etamorphosis o

f things? The m

etamo

r­

phOSiS o

f the in

anim

ate universe is a cou

nterp

art of p

rimitiv

e

man

's own m

etamorphosis. To a certain ex

tent, he transfers the

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

causality of the m

etamorphosis o

f events into himself. T

he meta­

morphosis o

f the p

lant from

seed to fruit is a cou

nterp

art to his

personal m

etamorphosis -

as a mask dancer -

as a master o

f this

process of ripening.

Lea

end

ary O

riain

s of th

e Clan w

ith th

e Totem

Serp

ent 16

We cam

e ou

t of th

e earth by th

e Colorado G

rande. After som

e

wandering, w

e settled in Tokonabi (N

avajo Mountains). B

ut there

were few

springs and few clouds there. T

he chief had two

daugh­

ters and two

sons, on

e of w

ho

m, T

i-yo, always sat sadly o

n th

e

wall, w

on

derin

g w

here the w

ater wen

t when it disappeared into

the ground. Ti-yo said he had to solve this riddle.

Together w

ith his father, he builds a boat; his m

oth

er gives him

food, and his father gives him five pahos and tells h

im to

wh

om

he

must give th

emY

He also gives him

part o

f an eagle's thigh. Thus

equipped, Ti-yo travels straight d

ow

n the river o

f the un

derw

orld

until he reaches ano

ther land. S

omeone there calls to

him. H

e is

near the house of M

adam S

pider, wh

o greets him

warm

ly. Th

ere he

enters into

a spacious kiva. He gives M

adam S

pider the large paho

and the eagle's thigh; she is very happy with them

, gives him som

e­

thing to eat, gives him

a place to stay for four days, th

en advises

him to go to th

e snake house and promises to accom

pany him.

Th

en she p

repares a m

agic charm

, which she gives h

im as a

gift, and -invisible to others -

accompanies him

on

his right ear.

He flew

on

his bundle of eagle feathers until he cam

e into

a

kiva close to th

e great snake, to w

ho

m he gave som

e of the m

agic

charm. S

he let him

pass. Th

en he descended in

to th

e snake kiva,

where m

any

men

, all dressed in snake skins, sat in silence nex

t to

a sand pon-ya.18

From

there he descended farther into

the antelope-snake kiva.

Men dressed in

wh

ite sat around a sand pon-ya. He handed one o

f

his blue pahos to the chief, w

ho

too

k it, laid it o

n the sand pon-ya,

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

and

said: "I was exp

ecting

you, and I than

k you for com

ing. I

mak

e the clouds co

me and go, and I m

ake th

e win

d b

low

that

ripens the corn; and I direct the co

min

g and going o

f the m

ou

n­

tain animals. B

efore you return

, yo

u can w

ish for man

y things.

Request w

hat you will, and it shall b

e gran

ted:'

No

w M

adam S

pider advised him to resum

e his wandering. T

he

eagle flew to the w

est, where he saw

a great body of w

ater stretch­

ing far away, and in

the m

idd

le of it th

e lon

g shafts o

f a ladd

er

jutted

from the ro

of o

f a kiva. Th

e spider urg

ed h

im to

go there.

Wh

en he arrived, tw

o pum

as were guarding the entrance. B

ut the

spider calmed th

em w

ith h

er magic.

Th

e kiva was m

ade entirely of turquoise and coral, and in

the

middle an old w

om

an sat o

n the floor all alone. "T

hat's the friendly

mo

ther; every night, w

hen she takes off her coat, she becom

es a

charming young girl," said the spider. T

hen

the good old wo

man

prepared a meal for tw

o: "That's for you and for your father w

hen

he comes h

om

e:' As she said this, th

e spider whispered to him

to

get ready w

ith the paho for the sun. A

nd like the noise of a thun­

derbolt, the sun came in. H

e too

k o

ut o

f his coat all the pahos he

had received from

humans o

n his travels and p

ut th

em in order.

"Th

ese are from hum

ans with

go

od

hearts; they

shall have wh

at

they wish. B

ut these are from the evil ones; m

y eyes do no

t wan

t to

look upon them

:'

Ti-yo gave h

im his paho. "T

hat's good, my friend, m

y relative,

my son, let us sm

oke," said the sun, and th

ey sm

oked. Th

e sun

then

asked Ti-yo to

accompany him

on

his jou

rney

thro

ug

h the

un

derw

orld

. Ti-y

o h

eld o

n to

his belt, an

d th

ey flew

into

the

deepest depths of th

e underworld, to

the house o

f Mu-i-yin

-wuh.

A lo

t of serious people w

ere hu

rryin

g about there, and the sun

bro

ug

ht T

i-yo into

the m

iddle of this hardw

orking throng, wh

ere

Ti-yo gave M

u-i-yin-wuh his paho. H

e said he w

ould always heed

the w

ishes o

f Ti-yo

's people and th

at it was at his b

ehest th

at all

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

the seeds o

f the living cam

e to be. Th

e crowd h

e saw th

ere was

busy with this w

ork.

Th

en th

e sun too

k him

back up and led him eastw

ard to the

sunrise. Wh

en they stopped, they w

ere nex

t to the sun's house, a

kiva just like the o

ne in the w

est, except that it's red. T

here w

ere

no

wo

men

here either, only th

e sun's bro

ther, w

ho

takes turn

s

with

his bro

ther carry

ing

the su

n shield. T

he b

roth

ers change

places every four days.

Here the sun taught him

to make the sun paho. T

hen

he w

ould

be able to

see into

the hearts of all m

en. T

he m

ost im

po

rtant gift

he could receive is in the antelope-snake kiva, the gift o

f the rain

cloud. The sun gave him

the skins of th

e gray and the yellow

fox,

set him on his shoulders, and led

him through th

e sky to the w

est.

Th

ey fo

un

d th

e go

od

old wo

man

there again. S

he gave him

man

y rich

gifts. He w

rapp

ed ev

eryth

ing

carefully in his coat,

climbed back up th

e ladder, and flew aw

ay on his part o

f the eagle.

It was th

e twilig

ht o

f even

ing

wh

en he arrived at th

e snake

kiva; five days had passed since he had been there the first time.

He quickly en

tered and w

ent to

the antelope-snake kiva, w

here

he sat by the sand pon-ya for four days, listening to

the teaching

of th

e chief, wh

o said: "H

ere we have an overabundance o

f rain

and corn. In your land there is little. So you mu

st use magic. M

ark

well these prayers in your breast, these songs you shall sing, these

pahos you shall make; and w

hen

yo

u display th

e wh

ite and the

black on

your bodies, the clouds will co

me:'

He gave to

Ti-yo pieces o

f the tw

o kiva fires and so

me sand

from th

e pon-ya in the antelope-snake kiva; these, he said, are the

colors of the co

rn th

at will co

me forth from

Ti-yo's prayers.

He also gave him

two

girls wh

o k

new

the magic charm

against

the rattlesnake's bite. H

e was to

give on

e of th

em to

his brother. (

He also gave h

im a ti-po-ni from

the sand pon-ya and o

rdered

him

always to

carefully preserve it. "For truly, it is your m

oth

er:'

i

A

JO

UR

NE

Y

TH

RO

UG

H

TH

E

PU

EB

LO

R

EG

ION

Madam

Spid

er then let him

com

e into

her house, w

here he

stayed four days and hu

nted rabbits for h

er. Th

en she m

ade a bas­

ket for him

, and on

the fifth mo

rnin

g she set him

in it with

a girl

on

each side. Th

en she disappeared. B

ut a thread ap

peared

and

too

k hold o

f the basket, w

hich rose thro

ug

h the w

hite clouds and

sailed all the w

ay to T

okonabi. Ti-yo to

ok

the girls to

his mother;

they

stayed there for four days, and his b

roth

ers prep

ared th

e

wedding presents.

On

the fifth day, his mo

ther w

ashed the girls' heads, and from

the top

of the house it w

as announced that a foreign tribe had come

to them; in sixteen days, their cerem

ony would be held. A

nd until

today the snake ceremony is an

no

un

ced sixteen days in advance.

Ti-yo and o

ne o

f the girls wen

t into

the antelope-snake kiva;

his bro

ther w

ent w

ith the o

ther o

ne in

to the snake kiva. (A

t this

point, the actual ceremony is recounted, except th

at the b

roth

ers

do no

t go off on

the snake hunt.)

Beginning o

n th

e fifth evening of th

e ceremony, and th

en o

n

the n

ext three after that, low

clouds gathered over Tokonabi, and

the snake people cam

e up ou

t of th

e un

derw

orld

. Th

e nex

t mo

rn­

ing they were transform

ed into reptiles of every sort. T

he m

orn

­

ing after that, the snake girls said: "B

ring the younger bro

thers o

f

the snake people here, wash their heads, and let th

em dance w

ith

you:' And it w

as done; at sundown, T

i-yo made a snake house o

ut

of flour, and the snakes w

ere bro

ug

ht in

to it. A

ll the people passed

by and threw

sacred flou

r on

them

. But th

ey to

ok

the y

ou

ng

er

bro

thers back o

ut in

to th

e valleys; they

wen

t back to th

e snake

kiva in the u

nd

erwo

rld and took all th

e wishes o

f the people there.

After that, the girls gave birth to

man

y snakes. W

hen

the chil­

dren

wanted to

play with them

, they were bitten. W

e had to em

i­

grate from T

okonabi; the two

snake girls were left behind. A

fter

lon

g w

anderings, the w

ar go

d ap

po

inted

Walpi to

them

as the

place of residence w

here he w

ants to b

e worshiped.

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

18.4. Slid

es

1. Zuni landscap

e

2. Map

3. Santa Fe

4. Laguna I

5. Laguna II

6. Oraibi, in

terior

7. Billings

8. Pottery I

9. Pottery II

10. Cleo ]u

rino

11. Cleo ]u

rino

, drawing

12. Kiva

13. Acom

a I (on the cliffs)

14. Acom

a II (in front of the

church)

15. Acom

a III (inside the church)

16. Acom

a IV (church,

orn

amen

t)

17. Barn w

ith ladder

18. Antelope dance I

19. Antelope dance II

20. Antelope dance III

21. Antelope dance IV

Lt. B

ly!Ul

22. Holbrook

23. Hotel

24. Weaver w

oman

25. Keam

s Canyon

26. Walpi, view

of the village

27. Walpi, street

28. Oraibi, old m

an

29. Hem

is kachina I, spectator

30. "

II , spectator

31. Hem

is kachina dance I

32. II

33.

34. III

35. IV

36. V

37. V

I

38. V

II

39.

40. Hem

is kachina chief

41. Snake dance, W

alpi I

42. Snake dance, W

alpi II

43. Snake dance, W

alpi III

44. Laocoon

45. Asclepius

46. Kreuzlingen

47. Uncle S

am

Small H

emis kachina tree

[Num

erous han

dw

ritten additions, to the right o

f items 3

0-4

0 in

list, some in shorthand, including: m

en standing, sitting, dancers

stepping, moving, seen frontally, tu

rnin

g, lo

ne w

om

an, sacred

flour, pause in the dancing, sm

all tree.]

330

!

Ap

PE

ND

IX

FO

UR

On

P

lan

ned

A

meric

an

V

isit (1

92

7)

Aby W

arbu

rg

Th

e presence of P

rofessor Iulius Sachs has given me, aside from

great personal pleasure in seeing him

again, an insight that began

to w

ork

its way to

ward

us decades ago: namely, th

at with

ou

t a

kn

ow

ledg

e of th

e hu

man

ist traditio

n and h

um

anist ed

ucatio

n,

the self-observations o

f the o

ld and th

e new

E

uro

pean

s -if

ind

eed I m

ay thu

s desig

nate th

e Am

ericans -

mu

st necessarily

remain insufficient.!

And since at th

e same tim

e, thanks to the visit o

f Miss G

ladys

Richard, D

r. Boas's o

utstan

din

g stu

den

t wh

o w

as wo

rkin

g h

ere

this win

ter at the anthropology mu

seum

, I saw h

ow

only an ex­

tensive knowledge o

f ancient religious culture would allow

us to

make any use o

f the study of the surviving Indian civilization, th

e

field of observation to

which this idea co

mm

and

ed m

e no

w ap­

pears as a closed circle: "It's a lesson from an old book: th

e kin­

ship of A

thens and Oraibi."2

Because m

y presen

t existence stands un

der th

e sign "Gath

er­

ing Hay in a T

hu

nd

erstorm

" (which I do n

ot take sentim

entally),

I wo

uld

like to draw

som

e conclusions: ever since we have had

such an un

derstan

din

g co

rrespo

nd

ent as P

aul Sachs at the F

ogg

Museum

in Boston, it w

ould almost be a sin o

f omission if w

e did

331

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

no

t try to establish -w

itho

ut any obligation on eith

er side -an

organic connection. 3

Th

ere it wo

uld

be possible (as A

dolph Go

ldsch

mid

t is no

w

doing with

respect to m

edieval art 4) to m

ake the significance of

ancient traditions for mo

dern

culture persuasively felt as a prob­

lem o

f vital importance. A

ccordingly, through a very brief series

of lectures at C

olumbia U

niversity or in W

ashington -lectu

res

that in

terms o

f space, time, and m

aterial wo

uld

go far bey

on

d

methodological aspects -

we could treat the p

rob

lem o

f cultural

exchange as the stru

cture o

f social mem

ory

in the sim

plest and

soundest way, by using the question o

f the "influence of A

ntiq­

uity" on curren

t European intellectual life as o

ur A

riadne's thread

-as w

e have do

ne for ten

years now.

Wh

en I look back o

n m

y life's journey, it seems th

at my func­

tion has been

to serve as a seism

ograph of the soul, to

be placed

along the dividing lines b

etween

different cultural atmospheres

and systems. P

laced by birth in the m

iddle, betw

een O

rient and

Occid

ent, and driven by elective affinity in

to Italy, w

hich itself

mu

st attemp

t to co

nstru

ct its ow

n n

ew personality o

n th

e lines

dividing pagan An

tiqu

ity fro

m th

e fifteenth

-centu

ry C

hristian

Renaissance, I w

as driven toward A

merica [illegible handw

riting],

the o

bject o

f a supra-personal duty, in ord

er to ex

perien

ce life

there in

its po

lar tensio

n b

etween

the instinctive pagan n

ature

cult and organized intelligence. After I had set up in H

olland, too

-in m

y studies on

Rem

brandt, a reliable mirro

r for capturing the

ancient traditions of the regionS -

the follow

ing marching orders

were given to

my institute: the en

tire officers' corps mu

st -if th

e

turret o

f the observation tan

k is to

function -undergo the m

ost

extensive and fun

dam

ental

edu

cation

in relatio

n

to,

first, a

knowledge [?] o

f Italy, especially in its relation to A

ntiquity, and,

second, the antiquity of A

merica; th

at is, the religious and artistic

practice that lives on am

ong the Indians, tran

smitted

by Mexican

332

ON

P

LA

NN

ED

A

ME

RIC

AN

V

IS

IT

priests, to

which p

rimo

rdial in

dig

eno

us elem

ents w

ere added,

[????] mu

st be as presen

t for all of us as the ancient tradition is to

the m

od

ern A

merican fram

e of m

ind.

On

this point, the U

nited States is in danger o

f failing to rec­

ognize the essence of the cultural tradition, since no o

ne is there

to show

where th

e indestructible values of th

e spiritual and intel­

lectual tradition are to b

e found -even for practical life, w

hich at

its deepest level can only be applied science.

Since I have n

ot b

een able to

thin

k ab

ou

t refreshing my

oId

exp

eriences -

no

t least because of m

y illness -

I have decided,

regardless of all th

e considerations that m

y so viSibly advancing

age brings with it (and perhaps precisely because o

f this), first to

go to Italy in th

e fall for four or five weeks, so th

at I mig

ht give

my

children and Dr. B

ing an app

rox

imate n

otio

n o

f fifteenth

­

centu

ry F

loren

ce. Fo

r a lon

g tim

e no

w, D

r. Bing has h

ad th

e

mo

st legitimate claim

to being given access to the pictorial m

a­

terial that, with

great intelligence, she has directly helped us to

wo

rk on: system

atic by natu

re and by education, she has given

us invaluable help, especially in compiling the im

mensely diffi­

cult indexes o

f ou

r man

y publications. B

ut only wh

en she has

experienced the foundation o

f the pictorial elem

ent o

f Antiquity

and of Italy for h

erself will she receive th

e enrich

men

t she de­

serves. I eml,

hep

e that th

e tefl aap

set asiae fel h

el, aftel

speflaif!:g the 1"1 e

, iel:ls ffll:ll teef!: aa, s alef!:e if!: Plel ef!:ee,

"ill be s tlffieient.

Fo

r Saxl, th

e matter also stands thus: he u

rgen

tly n

eeds a

renewed im

mersion in Italian art, from

the perspective of th

e sur­

vjval of A

ntiquity. Only after spending th

ree months in F

lorence

I br Rom

e could he m

ake clear to students, in a series of lectures in

Am

erica -though for n

ow

it is too

soon to say w

hat fo

rm these

should take -the significance o

f European scholarship to

Am

er-

·ca. Just as, Similarly, an organization like the F

ogg Museum

will

333

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

M

OT

IO

N

show how

a practical sense o

f things, with

ou

t presuppositions,

can facilitate matters for a stu

den

t in search of tru

th.

Now

, as for "po

or m

e," no

t having been there since the war, a

trip of four to five w

eeks will b

e the min

imu

m am

ou

nt o

f time for

the m

ost necessary w

ork

requ

ired to

com

plete m

y prep

aratory

studies on

Italy. In any case, I ho

pe to

be far enough along in the

spring of 1928 to b

e able to spend three mo

nth

s in Am

erica, where

I have an agreem

ent w

ith Boas to speak in N

ew Y

ork on

the signif­

icance o

f Am

erican eth

no

log

ical research for a g

eneral u

nd

er­

stand

ing

of th

e stud

y o

f cultu

re, in a series o

f three o

r four

lectures, which I m

ay also give in W

ashington.

From

ano

ther perspective, I w

ill also speak in Boston, in con

­

jun

ction

with

the Fogg M

useum, o

n the ancient pagan tradition as

reflected in European art. U

nfortunately, there will probably n

ot

be enough tim

e for me to m

ake an excursion to New

Mexico and

Arizona. T

hat I do n

ot trav

el well is som

ething that I mu

st accept;

bu

t it has beco

me apparent th

at if I am given careful and reliable

assistance, I can manage to give a fairly good oral presentation.

How

ever, it wo

uld

be very desirable for Alb

er to accompany m

e,

bo

th o

n th

e trip there and o

n the retu

rn. A

s I pointed ou

t above,

it is equally necessary for Dr. B

ing to gain know

ledge of A

merica

no

t only in relation to the tradition b

ut also concerning the tech­

nical aspects of the libraries, so th

at ou

r institute may operate at

the highest lev

el-

and I am n

ot thinking prim

arily of m

echanical

refinem

ents. F

or this reason, it w

ou

ld b

e desirable for her to

travel to Am

erica at the same tim

e, even if she had to go to places

that I w

ou

ld n

ot in

clud

e in my

itinerary. At th

e same tim

e, it

would be very desirable, or in fact absolutely necessary, for h

er to

supervise the intro

du

ction

of the slides into m

y lectures.

After I have retu

rned

from A

merica, P

rofessor Saxl will have

about six mo

nth

s to prepare for a trip to A

merica, w

here he m

ay

stay for perhaps half a year. I believe I can b

e certain that w

hen

he

33

4

ON

P

LA

NN

ED

A

ME

RIC

AN

V

IS

IT

returns, ou

r institute will have risen to

meet th

e highest standards

as an observation tower, w

hich, from its platform

in Ham

bu

rg,

looks ou

t over all the migratory routes o

f cultural exchange / o

f

symbolic culture /

betw

een A

sia and Am

erica.

335

Figure 111.

Aby W

arburg in Rom

e, win

ter

19

28

-19

29

, a few m

onths before his death.

"Be

neath the

dark flutte

r of the

griffin

's wings

we dream

-betw

een grip

pin

g and being gripped

-th

e co

nce

pt of consciousness." A

by Warburg

on Mnem

osyne, journal, May 1

92

8.

No

tes

FO

RE

WO

RD

: K

NO

WL

ED

GE

-MO

VE

ME

NT

1. See in particular D

ieter Wuttke, "A

by M.

Warburg -

Bibliographie:

Schriften, W

urdigungen, Archivm

aterial," in Aby W

arburg, Ausaew

iih1te Schriften

und Wiirdiaunaen, ed. D

ieter Wuttke (B

aden-Baden: V

alentin Koerner, 1980),

pp. 517-76; Werner H

ofmann, G

eorg Syam

ken, and Martin W

arnke, Die M

en­

schenrechte des Auaes: U

ber Aby W

arbura (Frankfurt: E

uropaische Verlagsanstalt,

1980); Horst B

redekamp, M

ichael Diers, and C

harlotte Schoell-G

lass (eds.), Aby

Warbura: A

kten des internationa1en Symposions, H

ambura 1990 (W

einheim: V

CH

,

1991). Also see the co

llections in Vortrage aus dem

Warbura-H

aus (Berlin: A

ka­

demie, 1997-).

2. O

n this aspect, see D

ieter Wuttke, A

by M.

WarbU

laS Methode a1s A

nreauna

und Atifaabe, 3rd ed

. (Gottingen: G

ratia, 1979).

3. H

enri Focillon, M

oyen Aae, survivances et revei1s: E

tudes d'art et d'histoire

(Montreal: V

aliquette, 1945).

4.

Andre C

hastel, Art et hum

anisme a F

lorence au temps de Laurent 1e M

aani-

fique: Etudes sur 1a R

enaissance et l'humanism

e p1atonicien (Paris: PU

F, 1959), pp.

308-13; also see Andre C

haste l, Fab1es.jorm

es,fiaures (Paris: Flam

marion, 1978),

whose index o

f names om

its Warburg. W

arburg's reference to the Pathoiform

e1 is

fso missing from

the article by Andre C

hastel, "L' Art du geste a la R

enaissance,"

I Revue de l'art 75 (1987), pp. 9-16.

5. See W

illiam S. H

eckscher, "The G

enesis of Iconology" (1967), in A

rt and

iterature: Studies in Relationship (B

aden-Baden: V

alentin Koerner, 1985), pp.

33

7

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

253-80; Serge T

rottein, "La N

aissance de l'iconologie," in Sym

b01es de 1a Renais­

sance, II (Paris: P

resses de l'Ecole N

ormale S

uperieure, 1982), pp. 53-57.

6. P

ierre Francastel, La R

ealite fiaurative: Elem

ents structurels de soci010aie de

I'art (Paris: D

enoeI-Gonthier, 1965), pp. 201-81. R

eference is made (p. 396, n.

100) to George R

iley Kernodle (From

Art to Theatre: Form

and Convention in the

Renaissance [C

hicago: University o

f Chicago P

ress, 1944]) and, before him, to

Em

ile Mile (L 'A

rt reliaieux de 1a fin du M

oyen Aae en France: E

tude sur 1 'iconoBIa­

phie du Moyen A

ae et sur ses sources d'inspiration [Paris: Arm

and Colin, 1908]),

considered the initiator or the problem

atic: "Th

e question of the relationships

betw

een art and th

eater in the Middle A

ges was treated for the first tim

e by M.

Em

ile Mile." A

lso see Pierre F

rancastel, La Fiaure et Ie lieu: L

'Ordre visuel du

Q]1attrocento (P

aris: Gallim

ard, 1967), pp

. 26

5-3

12

, wh

ere Warb

urg

is again

ignored. Aby W

arburg, "Th

e Theatrical C

ostumes for the In

termed

i of 1589"

(1895), in The Renew

al ifPaaan A

ntiquity, trans. David B

ritt (Los A

ngeles: Getty

Research Institute, 1999), pp. 349

-403.

7. N

ow you can find A

by Warburg's The R

enewal ifP

aaan Antiquity, trans.

David B

ritt (Los A

ngeles: Getty R

esearch Institute, 1999).

8. S

ee Geo

rges D

idi-H

ub

erman

, Devant I'im

aae: Q

]1estion posee aux fins

d'une histoire de 1 'art (Paris: M

inu

it, 1990), pp. 26

3-6

4; and G

eorges Didi­

Huberm

an, "Po

ur u

ne anthropologie des singularites form

elles: Rem

arque sur

I'invention warb

urg

ienn

e," Geneses: Sciences sociaies et histoire 24 (1996), pp.

145-

63. As a resu

lt of this situation, m

on

og

raph

works on W

arburg, often of

great quality, coexist with

ou

t any reference to each o

ther (see the bibliography

established by Wu

ttke, "A

by M. W

arbu

rg -

Bibliographie"). A

no

ther result is

the remarkable nonuse value o

f War burg's concepts.

Let us sim

ply no

te -regarding the p

rob

lem o

f gesture and movem

ent -the

following: W

arburg's ideas about the "survival of the an

cient gesture" do n

ot

appear in the works o

f Moshe B

arash (Gestures if D

espair in Medieval and E

arly

Renaissance A

rt [New

York: N

ew Y

ork University P

ress, 1976]); Warb

urg

's

nymph and serp

ent (see below

, pp. 67 and 221-23) are no

t men

tion

ed in the

works o

f David S

umm

ers ("Maniera and M

ovement: T

he Fiaura Serpentinata,"

Art Q

yarterly 35 [1972]. pp. 269-301); the relationship betw

een contem

plation

NO

TE

S

and theatricality, a pro

du

ct of the ancient polarity betw

een ethos and pathos, is

overlooked by Michael F

ried (Absorption and Theatricality: P

ainter and Beholder

in the Aae if D

iderot [Berkeley: U

niversity of C

alifornia Press, 1980]); the P

athos­

Jormel does n

ot ap

pear to b

e kn

ow

n by the sem

ioticians of th

e patheme (see

Algirdas Julien G

reimas and Jacques F

ontanille, The Semiotics if Passions: From

States if Affairs to States if F

eelina, trans. Paul P

erron

and Frank C

ollins [Min­

neapolis: University o

f Minnesota P

ress, 1993]) or even by cultural historians

(see Jean-Claude S

chmitt, "Introduction and G

eneral Bibliography," H

istory and

AnthropoloB

Y 1, no. 1 [1984]. pp. 1-28; and Jan Brem

mer and H

erman

Rooden­

bu

rg (eds.), A

Cultural H

istory if Gesture Jrom

Antiquity to the Present D

ay [Cam

­

bridge, MA

: Polity P

ress, 1991]) ... to mention b

ut a few

examples.

9. It w

as at the initiative taken by a philosopher that the first translation o

f

Warburg's essays appeared in F

rench. See Eveline P

into, intro

du

ction

to A

by

Warburg, Essais florentins, trans. S

ybille Muller (P

aris: Klincksieck, 1990), pp.

7-4

2. A

nd thirty years ago, Panofsky w

as translated at the initiative taken by a

philosopher (Bernard T

eyssedre) and a sociologist (Pierre B

ourdieu).

10. E

lsewhere I have co

mp

ared the W

arbu

rg atlas o

f Pathoiform

eln to the

practice of m

ontage of certain avant-garde film

makers at the end o

f the 1920s.

See G

eorges Did

i-Hu

berm

an, La R

essemblance inJorm

e; ou, Le Gai Savoir visuel

selon Georaes B

ataille (Paris: M

acula, 1995), pp. 29

6-9

7 and 3

79

-83

.

11. G

illes Deleuze, C

inema 1: L

'!maae-m

ouvement (Paris: M

inuit, 1983).

12. S

ee Giorgio A

gamben, "A

by Warb

urg

and the Nam

eless Science," in

Potentialities: C

ollected Essays in Philosophy, trans. D

aniel Heller-R

oazen (Stan­

ford, CA

: Stanford U

niversity Press, 1999), pp. 89-103.

13. See E

dgar Win

d, "W

arbu

rg's C

on

cept o

f Kulturw

issenschaft and Its

Meaning for A

esthetics" (1930-1931), in The Eloquence if Sym

bols: Studies in

Hum

anist Art (O

xford: Clarendon, 1983), pp. 21-35.

14. See R

oland Recht, "D

u style aux categories optiques," R

elire WiiIjJlin

aris: Musee du L

ouvre-Ecole N

ationale Superieure des B

eaux-Arts, 1995), pp.

15. S

ee Geo

rges D

idi-H

ub

erman

and Patrick

Lacoste, "D

ialog

ue sur Ie

ymptom

e," L'!nactuel 3 (1995), pp. 191-226.

339

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

16. A

by Warburg, "T

he Art o

f Portraiture and the F

lorentine Bourgeoisie,"

in Renew

al ifPaaan A

ntiquity, pp. 185-221.

17. A

by Warburg, "S

andro Botticelli's B

irth if Venus and Sprina," in ibid., p.

103; and Warburg, "A

rt of P

ortraiture and the Florentine B

ourgeoisie," p. 187.

18. See E

rwin P

anofsky, "Th

e History o

f Art as H

umanistic D

iscipline"

(1940), in Meanina in the V

isual Arts (N

ew Y

ork: Doubleday, 1955), pp.

1-25.

Also see D

idi-Huberm

an, Devant j'im

aae, pp. 134-45. On

Warburg and N

iet­

zsche, see Yoshihiko M

aikuma, D

er BearifJ der K

ultur bei Warbura,

Nietzsche, und

Burckhardt (K

onigstein: Hain, 1985).

19. S

igmund F

reud and Ludw

ig Binsw

anger: Briefw

echsel, 1908-1938, ed.

Gerhard F

ichtner (Frankfurt: Fischer, 1992), p. 175. T

he l etter is cited in part by

Michaud (see below

, p. 365 n.6). Also see U

lrich Raulff, "Z

ur K

orrespondenz

Ludw

ig Binsw

anger-Aby W

arburg im U

niversitatsarchiv Tubingen," in B

re­

dekamp, D

iers, and Schoell-G

lass, Aby W

arbura: Akten des internationalen Sym

po­

sions, pp. 55

-70

; and Karl K

onigseder, "Aby W

arburg im B

ellevue," in Robert

Galitz and B

rita Reim

er (eds.), Aby M

. W

arbura: "Ekstatische N

ymp

he-

trauernder

Flussaott": P

ortrait eines Gelehrten (H

amburg: D

olling und Galitz, 1995), p. 84.

20. See D

idi-Huberm

an, Devant l'im

aae, pp. 169-269; and D

idi-Huberm

an,

"Pour une anthropologie des singu

larites formelles," pp. 148

-49

.

21. See F

ranz Cu

mo

nt, R

echerches sur Ie symbolism

e Juneraire des Rom

ains

(Paris: Librairie O

rientaliste Paul Geuthner, 194

2), pp. 319, 34

6,4

09

(the but­

terfly: symbo

l of the soul).

22. T

he word im

aao designates the definitive state of insects in "com

plete

metam

orphosis," such as the butterfly.

23. S

ee W

arburg, "Sandro B

otticelli's Birth

if Venus and Sprina,"

pp.

405-30; Aby W

arburg, "Durer and Italian A

ntiquity" (1905), in R

enewal ifP

aaan

AntiqU

ity, pp. 553-59; and Aby W

arburg, "The E

mergen

ce of the A

ntique as a

Stylistic Ideal in Early R

enaissance Painting," in ibid., pp. 271-75.

24. W

arburg, "Em

ergence of the A

ntique as a Stylistic Ideal in E

arly Renais­

sance Painting." A

lso see F. Antal and E

dgar Wind, "T

he M

aenad Under the

Cross,"Journal if the W

arburaln

stitute 1 (1937), pp. 70

-73

.

25. W

arburg, "Em

ergence of the A

ntique as a Stylistic Id

eal in Early R

enais-

NO

TE

S

sance Painting:' W

arburg posits that only since the seventeenth century have w

e

become accustom

ed to seeking such desires for bizarre sensations.

26. Ibid., p. 273: "A

tragic sense of classical unrest was basic to the culture o

f

Greco-R

oman A

ntiquity" (emphasis added).

27. W

arburg, "Du

rer and Italian Antiquity," p. 555.

28. W

arburg, "Sandro B

otticelli's Birth if Venus and Sprina," p. 141.

29. G

ertrud Bing, introduction to A

by Warburg, La rinascita del paaanesim

o

antico: Contributi alia storia della cultura, ed. G

ertrud Bing, trans. E

mm

a Canti­

mori (F

lorence: La Nuova Italia, 196

6), p. xxvi.

30. See Sigrid Schade, "C

harcot and the Spectacle of the H

ysterical Body: T

he

'Pathos F

ormula' as an A

esthetic Staging of Psychiatric D

iscourse -a B

lind Spot in

the Reception o

f War burg," A

rt History 18 (1995), pp. 499-517. O

n C

harcot and

his use of the pathos form

ula in classical and Baroque art, see G

eorges Didi­

Huberm

an, "Charcot: L

'Histoire et l'art," postface to Jean-M

artin Charcot and

Paul Richer, Les D

emoniaques dans 1'art (1887; Paris: M

acula, 1984), pp. 125-

211.

31. See S

alvatore Settis, "P

athos und E

thos, Morphologie und F

unktion,"

Vortriiae aus dem

Warbura-H

aus (Berlin: A

kademie, 1997), vol. 1, p. 40: "P

athos

ist Augenblick, F

ormel bezeichnet D

auer [Pathos is the instant; form

ula the

duration ]."

32. I am

attempting to synthesize a group o

f theoretical propositions, many

of w

hich were form

ed in a dialogue with the thought o

f Pierre F

edida (see in

particular Crise et contre-tranifert [Paris: P

UF

, 1992], pp. 227-65). In the field of

psychoanalysis, an echo of this thought is found in the work o

f Monique D

avid­

Menard ("S

ymptom

es et fossiles: La Reference it l'archalque en psychanalyse," in

Pierre F

edida and Daniel W

idlocher (eds.), Les Evolutions: P

hyloaenese de l'indi­

viduation [Paris: PU

F, 1994], pp. 245-54) and C

atherine Cyssau (A

u lieu du aeste

[Paris: PU

F, 199

5]).

33. T

he reference to Marey and to the im

age in motion (including M

arcel

uchamp's N

ude Descendina the Staircase) is already found in H

echscher's study

'Genesis o

f Iconology," pp. 267-72. In addition, it was w

ithin the framew

ork of

he Warburg Institute that B

eaumont N

ewhall published his first studies on the

istory of chronophotography; see B

eaumont N

ewhall, "P

hotography and the

34

1

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

Dev

elop

men

t of K

inetic V

isualization

," Jou

rna

l oj the W

arbur8 an

d C

ourtauld

Institutes 7 (1944), pp. 4

0-4

5.

34. See below

, pp. 82

-84

.

35. See H

enri Maldiney, "C

om

pren

dre" (1961), R

e8ard, P

arole, Espace (L

au­

sanne: L'A

ge d'H

om

me, 1973), pp. 70-71.

36. A

ntonin Artaud, "E

n marge de la 'C

ultu

re indienne,'" O

euvres completes

(Paris: G

allimard, 1974), vol. 12, p. 245.

INT

RO

DU

CT

ION

1. A

by Warb

urg

, "Sandro B

otticelli's Birth o

j Venus and S

prin

8'" in

The

Renew

al oj P

a8an An

tiqu

ity, trans. David B

ritt (Los A

ngeles: Getty

Research

Institute, 1999).

2. J.J. Winckelm

ann, Reflections on the Im

itation oj G

reek W

orks in Paintin8

an

d Sculpture, trans. E

lfriede Heyer and R

oger C. N

orto

n (L

a Salle, IL: O

pen

Court, 1989), p. 33. W

arburg cited and criticized this very passage at the end of

an essay published in 1914, "The E

mergence o

f the Antique as a S

tylistic Ideal in

Early R

enaissance Painting:'

3. A

by Warburg, "O

n Im

prese Am

orose in the Earliest F

lorentine Paintings,"

in Renew

al ojPa8an A

ntiquity, p. 174.

4. F

riedrich Nietzsche, The B

irth oj Tra8edy, trans. W

alter Kaufm

ann (New

York: V

intage, 1967), p. 33.

5. A

by Warburg, "G

rundlegende Bruchstiicke zu einer pragm

atischen Aus­

druckskunde" (Ground-laying fragm

ents for a pragmatic study o

f expression). I

am indebted to S

erge Trottein for calling m

y attention to this unpublished work,

which w

ill appear in Germ

an in Gesam

melte Schriften, ed. B

ernhard Busch

end

orf

and Claudia N

aber (Berlin: A

kademie, forthcom

ing).

6. In his biography o

f Warburg, G

om

brich

defines the fun

ction

of these

notes within th

e economy o

f the published texts and the scope o

f the art histo­

rian's intellectual contribution: "In W

arburg's essay [the study o

f Bo

tticelliJ­

and in those that w

ere to come -

the line o

f argumen

t has to be dug o

ut o

f the

mass o

f textual and visual documentation under w

hich it almost disappears. T

o

Warburg these docum

ents spoke with such im

mediacy th

at he felt that he had

NO

TE

S

only to present th

em for th

eir meaning to be clear. H

ere is the roo

t of that dis­

crepancy betw

een the public im

age of W

arburg as an erudite scholar who knew

how to co

nnect so

me out-of-the-w

ay texts with the im

ages of the past, and th

e

picture that em

erges from a read

ing of his n

otes, w

here the theoretical concerns

are always openly form

ulated. This discrepancy w

as ultimately to

lead to the

abortive project of W

arburg's last years in which h

e hoped to explain his philos­

ophy of civilization in term

s of a picture 'A

tlas' with scarcely any co

mm

ent:'

Ernst G

ombrich, A

by Warbur8: A

n Intellectual Bi08raphy (L

ondon: Warburg Insti­

tute, 1970), p. 59.

7.

"Zu

erst ist die Kunstthatigkeit, w

enn sie Menschen bildet, oft nichts als

der die O

berf1ache der D

inge selbst wieder reproduzierende C

ausalitatsdrang:'

8. A

by Warburg, B

ildniskunst und jloren

tinisches B

iir8ertum: D

omenico G

hir­

landaio in S. T

rinita; Die B

ildnisse des Lorenzo de' M

edici und seiner An8ehori8en

(Leipzig, 1902); and A

by Warburg, "T

he Art o

f Portraiture and the F

lorentine

Bourgeoisie," in R

enewal ojP

a8an Antiquity, pp. 185-221.

9. A

by Warburg, "T

he T

heatrical C

ostumes for the Interm

edi of 1589," in

Renew

al ojPa8an A

ntiqUity, pp. 349-403.

10. A

by Warburg, Im

a8esjrom the R

e8ion ojth

e Pueblo Indians o

jNo

rth A

mer­

ica, trans. Michael P. S

teinberg (Ithaca, NY

: Cornell U

niversity Press, 1995), p. 48.

11.

Warburg nevertheless co

nd

ucted

a seminar in his library in H

amburg;

gave lectures in Berlin, H

amburg, and R

ome; and regularly participated in inter­

national congresses of art history. H

e was even an active participant in the 1912

Rom

e congress; see Renew

al ojPa8an A

ntiqUity, p. 563

.

12. C

ited by Ron C

hern

ow

, The

Warbur8s (N

ew Y

ork: Ran

do

m H

ouse,

1993), p. 285. See above, p. 143. An iconographic trace o

f the Italian Concordat

is found in Mnem

osyne, pI. 78 (see figure 52).

13. A

by Warburg "n 'D

ejeuner sur I'herb

e' di Manet: La funzione prefigu­

ran ;:> delle divinitit pagane elementari per l'evoluzione del sen

timen

to m

od

erno

}ella natura" (1929), A

ut a

ut 199-200 (1984), pp. 4

0-4

5.

(

14. A

by Warburg, "Italian A

rt and International A

strology in the P

alazzo

Schifanoia," in R

enewal ojP

a8an AntiqU

ity, p. 585.

15. F

or a histo

ry o

f visual dev

ices in lectu

res on

art history, see Trevor

343

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

I

N

MO

TIO

N

Faw

cett, "Visual F

acts and

the Nin

eteenth

-Cen

tury A

rt Lectu

re," Art H

istory 6,

no. 4 (D

ec. 1993), pp

. 442

-60.

16. O

n th

e heuristic value o

f the analytic m

etho

d elaborated by W

arburg

for cinem

atographic studies, see Maurizia N

atali, [,Image paysage: Icon%

gie et

cinema (S

aint-Denis: P

resses Universitaires d

e Vincennes, 1992).

17. See M

ichael P. Steinberg, "A

by Warburg's K

reuzlingen Lecture: A

Read­

ing," in Warburg, Im

agesJrom the R

egion if the Pueblo Indians, p

. 62.

18. F

rom H

ollis Fram

pton, Circles ifC

onJusion (Roch

ester, NY

: Visual S

tud­

ies Workshop P

ress, 1983), pp. 171-76

. Th

e text, written

in 1973-1975, is dedi­

cated to Jane and S

tan Brakhage. In 1989, the latter m

ade a twen

ty-m

inu

te film

devoted to the ruins of the H

opi villages: Vision in Meditation 2: M

esa Verde (copy

at the New

York F

ilmm

akers Coop.).

CH

AP

TE

R O

NE

: N

EW

YO

RK

: TH

E M

OV

IE S

ET

I. C

ited by Beau

mo

nt N

ewhall, "P

ho

tog

raph

y and th

e Dev

elop

men

t of

Kinetic V

isualization," Journal if the Warburg and C

ourtauld Institutes 7 (1944),

p.4

0.

2. D

aniele Barbaro, La prattica della perspettiva (V

enice, 1568). Cited

by

Beaum

ont New

hall, The History if P

hotography (New

York: M

useum o

f Modern

Art, 1964), p. 11.

3. D

eutero

no

my

4.15-20.

4. S

amuel E

B. M

orse, New

-York Observer, A

pril 20, 1839, cited by New

hall,

History if P

hotography, p. 16.

5. Foreign Q

Jarter/y Review

23 (April 1839), pp

. 213-18, cited in New

hall,

"Photography and the D

evelopment o

f Kinetic V

isualization:'

6. W

e find the sam

e on

tolo

gical su

pp

ositio

ns in th

e art theo

ry o

f the

Cinquecento. In his introduction to

Lives, wh

en he defines draw

ing, Vasari logi­

cally refuses the representation of m

ov

emen

t and writes: "[H

]e wh

o w

ould learn

thoroughly to express in drawing the co

ncep

tions of the m

ind and anything else

that pleases him

, mu

st after he has in some degree trained his hand to m

ake it

more skilful in the arts, exercise it in copying figures in relief eith

er in marble o

r

stone, or else plaster casts taken from

life, or from

some beautiful an

tique statue,

34

4

NO

TE

S

or even from

models in relief o

f clay, which m

ay either be n

ud

e or clad in rags

cov

ered w

ith clay to serve for clo

thin

g and drapery. A

ll these objects b

eing

motionless and w

itho

ut feeling, greatly facilitate the w

ork of the artist, because

they stand still, w

hich does no

t happen in the case o

f live things that have move­

ment." G

iorgio Vasari, "W

hat D

esign is, and ho

w good P

ictures are made and

known, and con

cerning the invention o

f com

positions" in Vasari on

Technique,

trans. Louisa S. M

aclehose (New

York: D

over Publications, 1960), pp

. 207-208.

7. W

illiam L

ake Price, A

Manual if P

hotographic Manipulation (L

on

do

n,

1858), p. 174.

8. O

n the contradictions o

f spontaneity, see Clem

ent C

heroux, "V

ues du

train: Vision et m

obilite au XIX

e siecle," Etudes photographiques I

(Nov. 1996),

pp. 73

-88

. The author cites in particular the w

ork

of Josef-M

aria Eder, La Pho­

tographie instantanee (1884), trans. O. C

ampo (P

aris: Gauthier-V

illars, 1888). In

a chapter on

the photography of m

oving trains, Eder w

rites, "Those w

ho

began

to take instantaneous photographs tried to capture fast-moving trains. T

his was,

however, a thankless task, for if the p

roo

f obtained was in focus, the train seem

s

absolutely still, and the m

ere fact of the p

ho

tog

raph

er's wo

rd, m

ore than the

plume o

f trailing steam, vouches for the instantaneity o

f the pose" (p. 87).

9. D

ickson's first no

te on the kinetoscope, cited by Gordon H

endricks, The

Edison M

otion Picture M

yth (New

York: A

rno, 1971), p. 71.

10. Ibid., p. 55

.

II. W

illiam K

ennedy Laurie D

ickson and Antonia D

ickson, History if the

Kinetograph,

Kinetoscope,

and Kinetophonograph (1895; facs.

ed., New

York

:

Museum

of M

odern Art, 2000), p. 19. D

ickson himself designed the bands and

prin

ts of th

e ph

oto

gram

s repro

du

ced in th

e wo

rk. A

mo

re circumstantial ac­

count is found in an article by D

ickson that appeared in 1933; see H

endricks,

Edison M

otion Picture M

yth, pp. 89

-90

.

12. "T

he K

inetograph," New

York Sun, May 28, 1891, cited by H

endricks,

dison Motion P

icture Myth, p. 112.

13. "H

e also painted for public view in his city, w

ith the use of m

irrors, him­

sel nd his contem

porary Dante A

lighieri, on the wall o

f the chapel of the palace

of th

e ~

ta," Vite d'uomini illustrijlorentini [D

e Origine C

ivitatis Florentinae et

345

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

eiusdem Jam

osis civibus, v. 1400). C

ited by Jacob Burckhardt, "D

as Portdit in der

Malerei," in B

eitriige zur Kunstgeschichte von Italien (B

asel, 1898), p. 151.

14. See below

, p. 103.

15. See below

, pp. 98-100.

16. D

ickson and Dickson, H

istory if the Kinetograph, p. 16.

17. S

igmund F

reud, The Interpretation if Dream

s, The Standard Edition if the

Com

plete Psychological W

orks if Sigmund F

reud, ed. James S

trachey (London: H

og­

arth Press, 1973), vol. 4, p. 31. O

n the threshold o

f the construction of the first

topic, Freud explicitly sketches a com

parison between the unconscious and the

camera obscura: "I propose sim

ply to follow the suggestion th

at we should pic­

ture the in

strum

ent w

hich carries ou

t ou

r men

tal functions as resembling a com

­

pound microscope o

r a photographic apparatus:' Standard Edition, vol. 5, p. 536.

18. O

n this phase o

f film aesthetics, see C

harles Musser, The E

mergence if

Cinem

a: The A

merican Screen

to 1907 (L

os Ange

les: Un

iversity of C

alifornia

Press, 1990). A

lso see David R

obinson, From Peep Show

to Palace: The B

irth if A

merican Film

(New

York: C

olum

bia University P

ress, 1996).

On

the survival of infra-m

imetic elem

ents in co

ntem

po

rary ex

perim

ental

cinem

atog

raph

y and th

eir relationship to

the origins o

f cinem

a, see Arth

ur

Cantrill and C

orin

ne C

antrill's description of a film

they made, w

hich in a single

composition m

ixed real flowers in the foreground w

ith painted flowers in the

background: "La S

eparation bich

rom

e," in Nicole B

renez and Miles M

cKane

(eds.), Poetique de la couleur (P

aris: Auditorium

du Lo

uv

re-Institu

t de l'Image,

1995): "To create certain

still !ifes we used rep

rod

uctio

ns o

f paintings and

extended the subjects represented on

to those tow

ard the back of the com

posi­

tion. On

e of the m

ost interesting exam

ples is a film using a painting o

f eucalyp­

tus flowers by M

argaret Preston, in w

hich an ambiguity w

as created between the

real flowers in the 'living' com

position in the foreground and the painted flow­

ers in the background. We had looked for a painting that evoked three-dim

en­

sionality, and then combined it w

ith a three-dimensional m

aterial in ord

er to see

it re-created in cin

ematic tw

o-d

imen

sion

ality, w

hose pro

perties differ from

those of fixed photography and tw

o-dimensional painting" (p. 118).

19. D

ickson and Dickson, H

istory if the Kinetograph, pp. 19-20.

NO

TE

S

20. Ibid., p. 22.

21. G

ordon Hendricks p

ut an end to the story in "A

New

Look at an 'O

ld

Sneeze,'" Film

Culture 21 (1960), pp. 9

0-9

5. U

ntil 1912, films in the U

nited States

were copyrighted in the form

of prints on paper: an em

ulsion-covered paper the

same length and w

idth as the negative was used. T

he paper p

rint w

as then devel­

oped !ike a photograph. See K

emp R

. Niver, E

arly Motion P

ictures: The Paper Print

Collection in the Library if C

ongress (Washington, D

C: L

ibrary of C

ongress, 1985).

Th

e rediscovery of paper prints in the 1930s m

ade it possible to recon

struct pre­

served film copies, to som

e exten

t reversing the copyrighting procedure.

22. C

harles Musser, E

dison Motion P

ictures, 1890-1900: A

n Annotated fil­

mography (W

ashington, DC

: Sm

ithsonian Institution Press, 1997), p. 88. A

lso see

Robinson, From

Peep Show to Palace, p. 42.

The "publication" o

f Sneeze demonstrates the contingent nature o

f projec­

tion both in the definition and in the reception of film

. It was n

ot until the late

1950s and the structural films o

f Peter K

ubelka that the tradition of exhibiting

films, as opposed to projecting them

, found aesthetic expression. "Th

e first exhi­

bition of raw

filmic m

aterial, which seem

s to be a first in the history o

f cinema,

took place in 1958 in the Sem

aines d'Alpbach (T

irol): Kubelka nailed the film

for

Adebar directly o

nto

a row o

f pickets in the open fields and invited the spectators

to take the film into their hands. T

oday, at each showing o

f Adebar, Schw

echater,

or A

rnu!f Rainer, the naked celluloid ribbon is still attached directly to the w

all,

with nails in the perforations o

f the film:' C

hristian Lebrat, Peter K

ubelka (Paris:

Paris E

xperimental, 1990). In the 1970s, P

aul Sharits exhibited h

is Frozen F

ilm

Frames, m

ade up of strips o

f film affixed b

etween

two

sheets of P

lexiglas.

23. E

dward B

. Tylor, in P

rimitive C

ulture (New

York: H

arper, 1958), vol. I,

p. 97, devotes a section to ritual sneezing: through m

any examples b

orro

wed

from various cultures and eras, the author show

s that sneezing is frequently asso­

ciated with the presence o

r expulsion of a good o

r evil spirit; it is the sign that

he subject has been stripped of his self-m

astery. low

e this reference to Georges

·di-Huberm

an.

4. D

ickson and Dickson, H

istory if the Kinetograph, p. 19.

25. Ibid., p. 22.

347

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

26. Ibid., p. 24.

27. Ibid., p. 25.

28. Julius von S

chlosser, Tote Blicke: G

eschichte der Portratbildnerei in W

achs:

ein Versuch, ed. Thom

as Medicus (1911; B

erlin Akadem

ie Verlag, 1993).

29. See below

, pp. 120-21.

30. T

he film

s are abo

ut 15 yards long, o

r approximately tw

enty

seconds

long, at eighteen images p

er second.

31. D

ickson and Dickson, H

istory of the Kinetograph, p. 37. M

usser does no

t

give any information o

n the O

maha w

ar dance.

32. O

n F

ranz Boas and A

by Warburg, see below

pp. 178-79, 334.

33. See G

.w.F

. Hegel, The P

henomenology of M

ind, trans. J.B. B

aille (Lon­

don: George A

llen Unw

in, 1971), pp. 70

2-3

. See also Jacques Derrida's analysis

in Glas (P

aris: Galilee, 1974). In a n

ote w

ritten on Jan

uary

27, 1896, at the

Palace H

otel in Santa Fe, W

arburg wro

te that P

ueblo Indian tho

ug

ht is charac­

terized by the refusal of subjective differentiation, a rejection th

at leaves them

free to comm

unicate with the form

s of nature (see below

, p. 191).

34. G

.w.F

. Hegel, Lectures on the P

hilosophy of Religion , ed. P

eter C. H

odg­

son (Berkeley: U

niversity of C

alifornia Press, 1987), vol. 2, pp. 239-40.

35. "L

oie Fuller, through instinct, w

ith exaggeration, with the [recesses 1 of

her skirt o

r wing, creating a space." S

tephane Mallarm

e, "Autre etude de danse:

Les F

onds dans Ie ballet," in Crayonne au theatre, O

euvres completes (P

aris: Galli­

mard, 1945), p. 309.

36. T

his organic mo

vem

ent o

f three bodies grouped tog

ether to

suggest the

unity of a single body is sym

bolically un

do

ne in the im

ages of surfers film

ed in

the early twen

tieth cen

tury

by the Edison cam

eramen in H

awaii, black points

scattered on the white expanse o

f the ocean, w

hich in the image obeys n

o prin­

ciple of com

position.

37. N

ew York H

erald Tribune, Sept. 25, 1894, cited by M

usser, Edison M

otion

Pictures, pp. 128-29

.

38. T

he sam

e James M

ooney who, three years later in W

ashington, would

tell Warburg about the snake ritual. S

ee below, p. 177.

39. Jam

es Mooney, "T

he Ghost-D

ance Religion and the S

ioux Outbreak o

f

NO

TE

S

1890," Fourteenth A

nnual Report of the B

ureau of Ethnology (W

ashington, DC

:

Sm

ithsonian Institution, 1896), p. 653.

40. Ibid., p. 657.

CH

AP

TE

R T

wo

: F

LO

RE

NC

E I:

BO

DIE

S IN

M

OT

ION

1. T

he ode, com

posed betw

een 1476 and 1478 for G

iuliano de' M

edici and

comm

emorating the to

urn

amen

t held in ho

no

r of S

imonetta V

espucci in 1475,

remained unfinished after G

iuliano's mu

rder in 1478. T

he first bo

ok

depicts the

realm o

f Venus, th

e second the apparition of the nym

ph who m

ust transform

Giuliano from

hu

nter to

lover. See A

by Warb

urg

, "Sandro B

otticelli's Birth

of Venus and Spring," in The R

enewal of P

agan AntiqU

ity, trans. David B

ritt

(Los A

ngeles: Getty

Research Institute, 1999), n. 8. O

n V

espucci, see below,

p. 116.

2. E

ugenio Garin, "L

a Culture florentine it l'epoque de L

eonard de Vinci,"

in Moyen Age et R

enaissance (1954; Paris: Gallim

ard, 1989), pp. 242-43. Also see

Eugenio G

arin, "L'am

biento del Poliziano," in II P

oliziano e suo tempo: A

tti del IV

convegno di studi suI Rinascim

ento (Florence, 1957).

3. A

by Warburg, "S

andro Botticelli," in R

enewal of Pagan A

ntiquity, p. 159.

4. "H

om

eric Hym

n to A

ph

rod

ite" cited in W

arburg, "Sandro B

otticelli's

Birth of Venus and Spring," p. 93; also see p. 92.

5. W

arburg, "Sandro B

otticelli's Birth of Venus and Spring," p. 102. In a dis­

quieting way, W

arburg's description anticipates that o

f the young girl depicted

on

the b

as-relief from A

ntiq

uity

that ap

peared

in Wilh

elm Jen

sen's novel

Gradiva, published in 1903: "H

er head, whose crow

n was en

twin

ed w

ith a scarf

which fell to h

er neck, inclined forward a little; h

er left hand held up lightly the

extremely volum

inous dress." Wilh

elm Jensen, G

radiva, a P

ompeiian F

ancy, in

Sigm

und Freud, D

elusion and Dream

, trans. Helen

Dow

ney (New

York: M

offat,

Yard, and C

ompany, 1917), p. 46. I th

ank

Jean-P

ierre Criqui for draw

ing my

\atten

tion

to this. Ju

st as th

e pro~agonist in Jensen

's novel sees the figure

~eplcted !D

. the bas-relief come to hfe, W

arburg would slow

ly be led during the

c~~se of hiS research from

the question of m

ov

emen

t to that of the reconstruc­

tion 6f~e past.

34

9

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

6. H

einrich von Kleist, "O

n th

e Mario

nette T

heatre," trans. T

homas G

.

Neum

iller, Dram

a Review

16, no. 3 (Sept. 1972), p. 24.

7. Ibid., p. 23.

8. W

arburg is careful to cite the name o

f the photographer, Adolph B

raun,

responsible for the reproduction of the draw

ing on which he based his argum

ent

_ a sign of his consciousness, n

ew to art historians, o

f the role of photographic

reproduction in the analysis of w

orks of art.

Warburg specifies that the bas-relief, now

in Woburn A

bbey, was form

erly

among the antique reliefs "built into the stairw

ay of S. M

aria Araceli in R

ome"

("Sandro B

otticelli's Birth of Venus and Spring," p. 107). O

n the im

po

rtance o

f

staircases as a cosmological reference, see below

, pp. 196-97.

9. W

arburg, "Sandro B

otticelli's Birth of Venus and Spring," p. 107.

10. W

arburg, "Sandro B

otticelli," p. 159. On

e finds a synthetic reformula­

tion of the question in this short text, w

hich W

arburg published in 1898.

11. E

dgar Win

d, P

agan Mysteries in the R

enaissance (New

York: N

orto

n,

1968), pp. 113-40.

12. C

ited in ibid., p. 115.

13. Ibid., p. 115.

14. Ibid

., p. 115.

15. Ibid., p

.m.

16. Ibid., p. 118-19.

17. O

n th

ree-dim

ensio

nal sym

metry, see D

avid Sum

mers, "F

igure Com

e

Fratelli: A

Transform

ation of S

ymm

etry in Renaissance P

ainting," The Art Q

yar­

terly 1 (1977), pp. 59

-88

.

18. A

by Warburg, "T

he A

rt of P

ortraiture and the Florentine B

ourgeoisie,"

in Renew

al of Pagan Antiquity, p. 202.

19. W

arburg borrows this term

from R

ob

ert Vi scher, U

ber das optische Form­

gifiihl (On

the optical sense of form

), published in 1873. On

empathy in G

erman

aesthetics at the end of the n

ineteen

th century, see H

arry Francis M

allgrave and

Eleftherios Ikonom

ou (eds.), Em

pathy, Form, and Space: Problem

s in Germ

an Aes­

thetics, 1873-1893 (Los A

ngeles: Getty

Cen

ter for the Histo

ry o

f Art and the

Hum

anities, 1994), and Andrea P

inotti, Estetica et E

mpatia (M

ilan: Guerini, 1997).

350

NO

TE

S

20. W

arburg, "Sandro B

otticelli," p. 157.

21. O

n the "B

ruchstiicke" (Fragm

ents), see pp. 37-38 above.

22. "D

ie Kunst d

er Friihrenaissance k

om

mt durch die E

infiihrung von sich

vorwartsbew

egenden Figuren auf den W

eg ihren 'wissenschaftlichen' C

harakter

zu verlieren. Und die K

iinstler geben sich diesel' Richtung hin, w

eil sie sich an

die 'Antike' anzuschliessen glaubten.

"Mit d

er Einfiihrung sich vorw

artsbewegender F

iguren wird d

er Zuschauer

gezwungen: die vergleichende B

etrachtung mit d

er anthropomorphistischen zu

vertauschen. Es heisst nicht mehr: 'W

as bed

eutet dieser A

usdruck?' sondern 'Wo

will das hin?'

"Das A

uge vollfiihrt den Figuren gegeniiber N

achbewegung, um

die Illusion

zu erhalten, als ob der G

egenstand sich bewegte.

"Fig

uren

, deren

Kleidungsstiicke o

der H

aare bew

egt sind, k

on

nen

diese

Bew

egung durch eigen

e Ko

rperb

eweg

un

g o

der o

hn

e diese du

rch d

en W

ind

erhalten

od

er du

rch b

eide zusam

men. B

ewegen dieselben sich in d

er Ebene

parallel zum Z

uschauer, so kann der Z

usch. nu

r dan

n an V

orw

artsbew

egu

ng

glauben, wenn er die A

uge bewegt:'

23. "B

ew. H

aare u. Gew

d. sind das Zeichen gesteigerter person!. B

wg. o

der

-starken W

indes. Man kann daher m

it Recht auf die gesteigerte T

hatigkeit der

darg

estellten P

erson

en schliessen, aber auch m

it Un

recht diese B

ewg. yom

Willen

der P

erson abhangig machen und so au

f personliches schliessen, wo

keines ist."

24. "V

erleihung der B

wg. U

m einer sich nicht bew

. Fig. Bw

g. zu verleihen,

ist es notig, selbst eine aufeinander folgende Reihe v. erlebten B

ildern wieder zu

erwecken -

kein einzelnes Bild: V

erlust d. ruhigen Betrachtung. Z

uschauer u.

Gew

dg. Bei bew

. Gew

dg. wird jed

er Theil d. C

on

tou

r als Spur einer sich vorw

.

bew. P

erson angesehen, die man von S

chritt zu Schritt verfolgt."

25. J.W

. Goethe, G

oethe on Art, trans. John G

aze (Berkeley: U

niversity of

California P

ress, 1980), p. 81.

26. J.J. W

inckelmann, R

ifJections on the Imitation of G

reek Works in P

ainting

an culpture, trans. E

lfriede Heyer and R

oger C. N

orto

n (L

a Salle, IL: O

pen

Co

urt,

~9), p. 33.

351

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

27. G

.E. L

essing, Laocoon (New

York: D

utto

n, 1961), p. 14.

28. G

oethe, Goethe on A

rt, pp. 83 and 81.

29. E

tienne-Jules Marey, Le M

ouvement (P

aris: Masson, 1894; repr. N

imes:

Jacqueline Cham

bon, 1994), p. 78. In the 1994 edition, the logical sequence o

f

the images is m

ade difficult to follow by a series o

f unacknowledged m

anipula­

tions. Many im

ages have b

een o

mitted

(in particu

lar the fencers and G

reek

dancers as well as all the plates n

ot in th

e text: "Man seated o

n th

e ground,"

"Tw

enty-four phases of an airplan

e take-off," "Zoosporic m

ovement," "M

ove­

men

t of red globules"). T

he illustrations o

f the 1894 texts are replaced by plates

of an u

nk

no

wn

origin (with the cap

tions remaining the sam

e), plates at times

quite different from the original illustrations: thus the n

ud

e performers o

f 1894

appear dressed in white o

ne century later.

30. Ibid., p. 42.

CH

AP

TE

R T

HR

EE

: F

LO

RE

NC

E II: T

HE

PA

INT

ED

SP

AC

E

1. C

esare Guasti (1822-1889), in A

by Warburg, "T

he A

rt of P

ortraiture and

the Florentine B

ourgeoisie," in The R

enewalifP

aaan Antiquity, trans. D

avid Britt

(Los A

ngeles: Getty R

esearch Institu

te, 1999), p. 216.

2. Jacob B

urckhardt, Beitriiae zu

r Kunstaeschichte von Italien (B

asel, 1898).

This volum

e is made up o

f three essays devoted, respectively, to the altarpiece

(pala), the painted portrait, and the collections: "Das A

ltarbild," "Das P

ortrat in

der M

alerei," and "Die S

amm

ler:' For the second essay, the o

ne used by W

ar­

burg, see the Italian edition: Jacob B

urckhardt, Carte italiana del R

inascimento,

ed. Maurizio G

helardi and Susanne M

uller (Venice: M

arsilio, 1994), pp. 161-324.

3. W

arburg, "Art o

f Portraiture and the F

lorentine Bourgeoisie," p. 186

.

4. Jacob B

urckhardt, The Civilization if the R

enaissance in Italy (London:

Phaidon,

1960); Jacob

Burckhardt,

Der

Cicerone

(Leipzig:

E.A

. S

eeman,

1909-1910).

5. B

urckhardt, "Das P

ortrat," pp. 150 ff.

6. "In d

en d

argestellten

Miinchen leb

en o

hn

e Zw

eifel man

che dam

alige

Dom

inikaner von S. Maria N

ovella [There are no d

ou

bt m

any Dom

inicans of that

time from

Santa M

aria Novella w

ho live among the m

onks represented]," ibid.,

352

NO

TE

S

pp. 15 and 155. Burckhardt still sees the hand o

f Sim

one Martini in these fres­

coes; today they are attribu

ted to A

ndrea di Bonaiuto and his assistants (c. 1355).

7. W

arburg, "Art o

f Portraiture and the F

lorentine Bourgeoisie," p. 187.

8. Ibid., p. 187.

9. C

ited by Andre B

azin, "Le M

y the du cinema total" (1946), Q

y'est-ce que

Ie cinema? (P

aris: Cerf, 1981), p. 22.

10. E

adweard M

uybridge, Anim

als in Motion (N

ew Y

ork: Dover, 1957), p. 15.

11.

Cited by G

ordon Hendricks, The E

dison Motion P

icture Myth (N

ew Y

ork:

Arno, 1971

), p. 158.

12. C

ited by Charles M

usser, Film

makinajor E

dison's Kinetoscope, 1890-1895

(New

York: C

enter for F

ilm and H

istorical Research, 1994).

13. C

ited by Hendricks, E

dison Motion P

icture Myth, p. 18.

14. Warburg, "A

rt of P

ortraiture and the Florentine B

ourgeoisie," p. 187.

15. A

by Warb

urg

, "Flem

ish and Flo

rentin

e Art in L

orenzo de' M

edici's

Circle A

round 1480," Renew

alifPaaan A

ntiqUity, p. 305.

16. B

ut it is no

t a rigorously linear evolution and sometim

es artists would

deliberately return

to compositional schem

es previous to perspective, as will be

seen in the tripty

ch by H

ug

o van d

er Goes p

ainted

for Tom

maso P

ortin

ari

around 1475 (see below, p. 140 and figure 47).

17. W

arburg, "Art o

f Portraiture and th

e Florentine B

ourgeoisie," p. 187.

18. Ibid., p. 188. [n Tom

b Sculpture (New

York: A

brams, 1964), E

rwin P

anof­

sky wo

uld

in turn

write: "T

he R

enaissance formally san

ction

ed rath

er than

merely tolerated th

e principle o

f individual (as opposed to wh

at [ have called

institutional and 'gentilitial') comm

emoration; and that a m

aximum

of posthu­

mous recognition cam

e to be considered a rew

ard n

ot only for sanctity o

r at

least piety bu

t also for political, military, literary, and artistic achievem

ent, in

certain cases even for mere beauty" (p. 73).

19. W

arburg, "Art o

f Portraiture and th

e Florentine B

ourgeoisie," p. 190.

20. Ibid

., p. 191.

21. C

ited by Eve B

orsook and Joh

ann

es Offerhaus, F

rancesco Sassetti and

Ghirlandaio at Santa Trinita, Florence: H

istory and Leaend in a Rena

issance Chapel

(Doornspijk: D

avaco, 1981), p. 11.

353

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

22. A

by Warb

urg

, "Fran

cesco S

assetti's Last In

jun

ction

s to His S

ons,"

Renew

al if Pagan Antiquity, pp. 230-31.

23. B

orsook and Offerhaus, F

rancesco Sassetti and Ghirlandaio at Santa

Trinita, Florence, p. 18.

24. O

ne recognizes the sam

e setting in Geneva in a portrait o

f Sassetti w

ith

his son Teodoro by G

hirlandaio now in the M

etropolitan Museum

of A

rt in New

York. 25.

For a detailed analysis o

f the cycle, see Charles d

e Tolnay, "T

wo F

res­

coes by Dom

enico and David G

hirlandaio in Santa T

rinita in Florence," W

allrif­

Richartz-Jahrbuch

23 (1961); B

orsook and Offerhaus, F

rancesco Sassetti and

Ghirlandaio at Santa Trinita, Florence, p. 19.

26. "T

he pagan spirit o

f these marginal reliefs as w

ell as that of the bucrania

adorning the darkly lustrous sarcophagi themselves is, m

oreover, exorcised, as it

were, by the paintings o

f Ghirlandaio w

hich dominate the chapel as a w

hole."

Panofsky, Tomb Sculpture, p. 86.

27. O

n B

uontalenti, see below, p. 155.

28. L

udovico Zorzi, II teatro e la citta (T

urin: Einaudi, 1977), p. 91.

29. W

arburg, "Art o

f Portraiture and the F

lorentine Bourgeoisie," p. 189.

30. Ibid., p. 191.

31. W

arburg, "Francesco S

assetti's Last Injunctions to H

is Sons," pp. 223-62.

32. E

rnst Gom

brich, Aby W

arburg: An Intellectual B

iography (London: W

ar­

bu

rg Institute, 1970), p. 118.

33. Ibid., pp. 125-26.

34. A

by Warburg, "S

andro Botticelli's B

irth if Venus and Spring," in Renew

al

if Pagan Antiquity, pp. 133-42.

35. S

ee above, p. 349, n.l.

36. S

ee Warburg, "S

andro Botticelli's B

irth if Venus and Spring," p. 136. In a recent m

onograph devoted to Piero, S

haron Ferm

or undertakes to prove, on the

basis of factual argum

ents, that the Chantilly p

ortrait represents n

ot S

imonetta

bu

t Cleopatra (Piero di C

osima: F

iction, Invention, and Fantasia [L

ondon: Reaktion,

1993], pp. 93-101). Warburg's m

etho

d destroys this type o

f interp

retation

and

reveals its underlying mechanism

s: it rests on a naive positivism that applies the

35

4

NO

TE

S

laws o

f nature to representation and p

resupposes that a portrait cann

ot represent

many m

odels at the sam

e time, and that it has m

eaning only on the level o

f signi­

fication. Warburg, w

hile giving his discourse the appearance of iconographism

,

shows, on the contrary, w

orks of art to be sites o

f superimpositions and crossings

among heterogeneous forces o

f which they are n

ot necessarily the reflection b

ut

with w

hich they sometim

es maintain relationships o

f resistance or conflict.

37. W

arburg, "Art o

f Portraiture and the F

lorentine Bourgeoisie," pp. 191

and 193.

38. Ibid., p. 189.

39. Ibid., p. 189.

40. W

arburg, "Francesco S

assetti's Last Injunctions to H

is Sons," p. 189.

41. G

eorges Did

i-Hu

berm

an, "P

ou

r un

e anth

rop

olo

gie des singularites

formelles: R

emarque sur l'invention w

arburgienne," Geneses: Sciences sociales et

histoire 24 (1996), pp. 145-63.

42. W

arburg, "Art o

f Portraiture and the F

lorentine Bourgeoisie," p. 190.

43. Julius von S

chlosser, Tote Blicke: G

eschichte der Portriitbildnerei in W

achs:

ein Versuch, ed. Thom

as Medicus (1911; B

erlin, Akadem

ie Verlag, 1993).

44. T

homas M

edicus, "La M

ort it V

ienne," postface to ibid.

45. W

arburg, "Art o

f Portraiture and the F

lorentine Bourgeoisie," p. 203.

Georges D

idi-Huberm

an has drawn atten

tion

to the arrang

emen

t of G

hirlan­

daio's fresco, to the po

int o

f making it the organizing principle o

f the cycle as a

whole. B

eyond the theatricalized space seen

in it by Warburg, he places th

e

emphasis on the m

etaphysical signification of theJrons scaenae: "T

he em

erging of

these children on the threshold of a ground floor and basem

ent mu

st be com­

pared

with

oth

er specific features of th

e fresco: the resuscitated child, ju

st

below, w

ho rises from his deathbed; the C

hrist-child bo

rn beside a R

oman tom

b;

the figures o

f Sassetti

and his w

ife em

ergin

g in

profile beside th

eir own

tombs .... T

he 'mu

te life' of w

hich Warburg speaks is therefore n

ot reduced to

the identity of the figures depicted: it proliferates from

the formal thresholds o

f

the represen

tation

, the p

rob

lematic articu

lation

of the g

rou

nd

floor and the

basement, for exam

ple, which seem

s to po

int tow

ard the no less problematic

articulations of the public and the private, death and life, the earthly and the

355

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

celestial-

everything Ghirlandaio tackles everyw

here in his cycle in the Sassetti

Chapel." D

idi-Hub

erman, "P

our une anthropologie des singularites form

elles,"

p. 161; and, more recently, L

'lma8e su

rvivante: Histoire de /'art et tem

ps des jan

­

tomes (Paris: M

inuit, 2002), pp. 484ff.

46. A

by Warburg, "F

lemish A

rt and the Florentin

e Early R

enaissance," in

Renew

al ifPa

8a

n A

ntiquity, p. 289.

47. M

ax Friedlander, From

Van E

yck to Brue8e1, trans. M

arguerite Kay (N

ew

York: P

haidon, 1956), p. 46.

48. W

arburg, "Flem

ish Art and the F

lorentine E

arly Renaissance," p. 289.

49. T

he same prem

editated confusion is found between the space o

f repre­

sentation and the universe of the senses in another w

ork by Mem

ling, the panel

of the L

ast jud

8m

ent, in D

anzig (now G

dansk), in which C

atarina Tani appears, in

a po

rtrait also drawn for the F

lorentine colony in Flanders. W

arburg writes,

"Madonna C

atarina Tani, w

hose po

rtrait no

w hangs in a church in a harsh

Northern clim

e, ... at the age of eighteen." T

he portrait is animated w

ith a life

of its ow

n: it is sensitive to the co

nditions of its ex

hibition, as if the figure were

freed from the painting's surface and fram

e. Ibid., p. 288.

50. In P

ortrait if an Old W

oman by H

ans Mem

ling in the Louvre, the veil and

the headdress are even more insisten

t than in the portrait of M

aria, rigidly defin­

ing the contours of the face.

51. W

arburg, "Flem

ish Art and the F

lorentine Early R

enaissance," p. 292.

52. Ibid., p. 292.

53. A

by Warburg, "F

lemish and F

lorentine Art in L

orenzo de' Medici's C

ir­

cle around 1480" (1901), in Renew

al ifPa

8a

n A

ntiqUity.

54. P

liny, Na

tural History, trans. H

. Rackham

(Cam

bridge, MA

: Harvard

University P

ress, 1952), p. 327.

55. G

alen, De T

emperam

entis, 2.182 (Leipzig: T

eubner, 1904), pp. 46-47.

56. B

ianca H

atfield Strens, "L

'arrivo del Trittico P

ortinari a Firenze," C

om­

mentari 19 (1968), pp. 314-19; B

orsook and Offerhaus, F

rancesco Sassetti an

d

Ghirlandaio at Santa T

rinita, Florence, p. 34.

57. W

arburg, "Flem

ish and Florentine A

rt in Lorenzo de' M

edici's Circle

Around 1480," p. 307.

)

NO

TE

S

58. O

n M

nemosyne, see below

, pp. 240-46.

59. C

ited by Gom

brich, Aby W

arbur8: An

Intellectual Bi08raphy, p. 272.

60. W

arburg, "Flem

ish Art and the F

lorentine Early R

enaissance," p. 301,

n.43. 61. P

erhaps the analysis of the portraits o

f Maria had autobiographical reso­

nance. In the margin o

f a note of the "B

ruchstiicke" from January 22, 1898, W

ar­

burg wrote: "F

lorenz / V

ial. Margherita 42, /

P. t. sin. / nebenan ciseliert /

Mary." M

ary Hertz w

as Aby's w

ife. He had m

et her in Italy at the end of 1880

while she w

as studying art. After their m

arriage, they lived in Florence, on V

iale

Margh

erita, from 1897 to 1904. In 1899, their first daughter, M

arietta, was born.

62. T

he same schem

a is found in a drawing o

f the snake god made for W

ar­

burg by Cleo Jurino in N

ew M

exico in 1895. A

s in the image o

f Maria, W

arburg

wrote the nam

es of the snake in a colum

n running down the length o

f the draw­

ing. During the lectu

re in Kreuzlingen in 1923, W

arburg would id

entify the

snake as a symbol o

f fecundity (see below, pp

. 194-96 and fig. 69).

63. Jacqu

es Mesnil, "L

'Influence flamand

e chez Dom

enico Ghirlandaio," La

Revue de /'art 29, 5th year, no. 166 (1911), p. 64.

64. W

arburg, "Flem

ish Art and the F

lorentine Early R

enaissance," p. 301,

n.44. 65. W

arburg, "Art o

f Portraiture and the F

lorentine Bourgeo

isie," p. 218,

n.l9. 66. See above, pp. 30-31 and 82-83.

67.

Erw

in Panofsky, Early N

etherlandish Paintin8 (C

ambridge, M

A: H

arvard

University P

ress, 1966), vol. 1, p. 331.

68. Ibid., p. 332.

69. Ibid., p. 334.

70. O

n the opposition betw

een Panofsky's G

erman period and his A

meri­

can period, see Georges D

idi-Hub

erman, D

evant l'ima8e: Q

yestion posee aux fins

d'une histoire de 1 'art (Paris: Minuit, 1990), pp. 107-68: "L

'historien de I'art dans

les limites de sa sim

ple raison."

71. A

rnaldo Mom

igliano, "How

Ro

man

Em

perors Becam

e Gods," A

merican

Scholar 55 (Spring 1986), p. 181; cited in A

by Warburg, Im

a8es fro

m the R

e8ion if

357

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

the Pueblo lndians qfNorth A

merica, trans. M

ichael P. Steinberg (Ithaca, N

Y: C

or­

nell University P

ress, 1995), p. 108.

72. O

ne finds the sam

e type of anachronism

in a study devoted to airships

and submarin

es in the Renaissance published by W

arburg in 1913, as a prediction

of the w

orld war to com

e ("Airship and S

ubmarine in the M

edieval Imagination"

[1913], in Renew

al qfPagan A

ntiquity, pp. 33

3-3

8), and o

f course in the plates in

Mnem

osyne, which rest, to

a great exten

t, on

a staging of the tensions betw

een

images o

f different time periods.

CH

AP

TE

R F

OU

R:

FL

OR

EN

CE

Ill: TH

E T

HE

AT

RIC

AL

ST

AG

E

1. D

er ''Tod des Orpheus": B

ilder zu dem Vortrag iiber D

iirer und die italienische

Antike: D

en Mitgliedern der archiiologischen Sektion ... iiberreicht von A. W

arburg, 3

plates, large folio (The D

eath qf O

rpheus: Plates to illustrate the lecture on D

urer

and Italian Antiquity. P

resented

by A.

Warb

urg

... to th

e mem

bers o

f the

Archaeological S

ection) [Ausgew

iihlte Schriften und Wiirdigungen, ed. D

. Wuttke

(Baden-B

aden: Valentin K

oerner, 1980), pp. 517-76]. The tw

o w

orks are exhib­

ited side by side today (as in 1906?) at the Kunsthalle in H

amburg. A

lso see Aby

Warburg, "D

urer and Italian A

ntiquity," in The Renew

alqfPagan A

ntiquity, trans.

David B

ritt (Los A

ngeles: Getty R

esearch Institute, 1999), pp. 55

3-5

9.

2. A

by Warburg, "S

andro Botticelli's B

irth qf Venus and Spring," in R

enewal

qfPagan A

ntiquity, p. 124.

3. B

urckhardt, cited in ibid., p. 125. "Darf m

an annehmen, dass das F

estwe­

sen dem

Kiinstler jen

e Figuren korperlich vor A

ugen fiihrte, als Glieder w

irklich

bew

egten

Lebens, so ersch

eint d

er ku

nstlerisch

gestalten

de P

rozess nahe­

liegend .... Man erk

enn

t hier, was Jakob B

urck

hard

t auch hier u

nfeh

lbar im

Gesam

turth

eil vo

rgreifen

d gesagt hat: 'D

as italienische Festw

esen in seiner

ho

heren

Cu

ltur ist ein w

ahrer Ob

ergan

g aus d

em L

eben in die Kunst.'"

This

analysis of R

enaissance festivals continued in a group of notes drafted betw

een

1903 and 1906 titled "D

as Festw

esen als vermittlender A

usbildner der gestei­

gerten Form

" (The festival as an expression and transm

ission of the co

mpleted

form).

4. See above, pp. 6

8-6

9.

/

NO

TE

S

5. A

by Warb

urg

, "Th

e Th

eatrical Co

stum

es for the In

termed

i of 1589"

(1895), in Renew

al qfPagan A

ntiquity, pp. 34

9-4

03

.

6. Jam

es M. Saslow

, The Medici

Weddingqf1589: F

lorentine Festival as The­

atrum M

undi (New

Haven, C

T: Y

ale University P

ress, 1996).

7. G

irolamo B

argagli, The Fem

ale Pilgrim

, trans. Bruno F

erraro (D

over­

house, 1988).

8. O

n soccer in sixteenth-century F

lorence, see Horst B

redekamp, F

loren­

tines Fussball: D

ie Renaissance der Spiele (F

rankfurt: Cam

pus, 1993).

9. W

arburg, "Th

eatrical Co

stum

es for the In

termed

i of 1589," p. 350.

Isabella's glossolalia found perhaps a distant echo in an episode from W

arburg's

later years: On

Jun

e 13, 1928, on his sixty-second birthday, his family and friends

were gathered w

ith him in the library on 116 H

eilwigstrasse in H

amburg. In the

mid

dle o

f the small celeb

ration

, War b

urg

disappeared for mo

re than

half an

hour. Wh

en h

e return

ed, he had changed his city clothes for beggar's rags, w

hich

were dirty and to

rn. N

ext he improvised a scene in w

hich he expressed himself

no

t in Germ

an or even classical Italian b

ut in N

eapolitan dialect. Inciden

t re­

po

rted by R

ene Dro

mert in R

obert Galitz and B

rita Reim

ers (eds.), Aby W

arburg:

"Ekstatische N

ymphe -

trauernder Flussgott": P

ortrait eines Gelehrten (H

amburg:

Dolling und G

alitz, 1995), p. 17.

It is possible that the character W

arburg created was a m

emo

ry o

f the figure

who appeared dressed in rags o

n the fresco o

f March (first decan o

f the Ram

) in

Palazzo Schifanoia in F

errara, a figure reproduced in the illustration of a lecture

given in 1912, "Italian Art and International A

strology in the Palazzo S

chifanoia,

Ferrara," in R

enewalqfP

agan AntiqU

ity, pp. 56

3-9

2. P

erhaps the rags with w

hich

Warburg dressed him

self were also intended to recall the "decaying splendor," to

use his own term

s, of the boti hanging from

the vault of S

antissima A

nnunziata.

10. A

nnamaria T

estaverde Mattein

i, "L

'officina delle nuvole: II T

eatro

Mediceo nel 1589 e gli Interm

edi del Buontalenti n

el Mem

oriale di Girolam

o

Seriacopi," M

usica e Teatro: @aderni degli am

ici della Scala 11-12 (Ju

ne-O

ct.,

1991).

11. T

he C

amerata in

clud

ed p

oets (O

ttavio

Rinuccini, G

iovanni Battista

Strozzi), philologists such as G

irolamo M

ei, composers, m

usicians, and music

35

9

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

theo

rists (Giulio C

accini and Jacopo Peri). All o

f them, to varying degrees, par­

ticipated in the creation of the Interm

edi.

12. In the second volum

e of the Trattati di m

usica by Giovanni B

attista Doni

(Florence, 1763), o

ne finds an essay by G

iovanni de' B

ardi, "Sopra la m

usica

antica e il can tar bene" (see below

, pp. 157, 165, and 362 n.26). On

Doni, "th

e

most im

po

rtant historian to consult regarding m

usical reform in F

lorence," see

Rom

ain Rolland, Les O

rigines du theatre lyrique moderne: H

istoire de l' opera en

Europe avant L

ully et Scarlatti (1895; Geneva: S

latkine, 1971), p. 66, n.l.

13. B

astiano de' R

ossi, Descrizione del'apparato e degli Interm

edi: Fatti per la

Com

media rappresentata in F

irenze: N

elle nozze de'Serenissimi don

Ferdinando

Medici, e M

adama

Cristina di Lorena G

ran Duchi di

Toscana (Florence: A

nto

n

Padovani, 1589).

14. Warburg, "T

heatrical Costum

es for the Intermedi o

f 1589," p. 354.

15. O

n the developm

ent of the living spectacle in the culture o

f po

wer in

the six

teenth

centu

ry, see R

oy Strong, A

rt and Power:

Renaissance F

estivals,

1450-1650 (B

erkeley: University o

f California P

ress, 1984); and II Luogo teatrale

a Firenze: B

rune/leschi, Vasari,

Buontalenti, P

arigi, preface by Ludovico Z

orzi,

exhibition catalog of the M

useo Mediceo (F

lorence: Electa, 1975).

16. O

n this arrangem

ent, see Robert K

lein and Henri Z

erner, "Vitruve et Ie

theatre de la R

enaissance italienne," in Ro

bert K

lein, La Forme et 1'intelligible

(Paris: G

allimard, 1970), pp. 2

94

-30

9, esp. pp. 3

04

-30

9.

17. "It is a th

in veil, finely w

oven, dyed whatever co

lor pleases you, and

with larger threads in the parallels you prefer. T

his veil I place betw

een the eye

and the thing seen, so the visual pyramid penetrates through the thinness o

f the

veil." Leon B

attista Alberti, O

n Painting, trans. Jo

hn

R. S

pencer (New

Haven,

CT

: Yale U

niversity Press, 1966), p. 68.

18. "G

reek theater already contained, in em

bryonic form, the ru

dim

ents o

f

the later form

s of o

pp

ositio

n b

etween

actor and sp

ectator. In

deed

, in it the

orchestra was already partially cu

t off by the rectilinear platform

of the 'stage:

And an ever-increasing tendency tow

ard doubling and the opposition of these

two

elements w

as expressed in the fact that the action, starting from

the orches­

tra, took place more and m

ore on these platform

s; the spectators then began to

) /

NO

TE

S

invade the orchestra, w

hich they transformed into 'th

e pit: leav

ing bu

t a simple

band for the future orchestra pit and pressing themselves against the 'sken

a'­

henceforth parallel to the public.

"Th

e placement o

f the stage parallel to

the room certainly reflected th

eir

still mo

re violent opposition (a wall set against an

oth

er wall): this penchant is

here expressed m

ore clearly even than in the previous phase:' "D

u cinem

a en

relief," in Franc;:ois Albera and N

aou

m K

leiman (eds.), Le M

ouvement de J'art

(Paris: C

erf, 1986), p. 113.

19. F

ilippo Baldinucci (d. 1696), "V

ie de Bernardo B

uontalenti," in Notizie

(Florence, 1974), vol. 2, pp. 4

90

-53

2, esp. pp. 4

93

-94

. On

Buontalenti, also see

Gh

erardo

Silvani, La vita del Signor B

ernardo Buontalenti, in ibid., vol. 7, pp.

11-20.

20. B

aldinucci, "Vie d

e Bernardo B

uontalenti:'

21. "If I w

anted

to m

entio

n h

ere all the m

achines, chario

ts, trium

ph

al

arches, and oth

er noble inventions perfected by Bernardo B

uontalenti betw

een

1585 and 1600, for comedies, jousts and tournam

ents, clown acts, m

asquerades,

sports, banquets and royal festivities, magnificent state funerals and o

ther sacred

services, I would never b

e done." Ibid., p. 516

.

22. A

ristotle, P

oetics 6.1450b.20, ed. Jo

nath

an B

arnes (Prin

ceton

, NJ:

Princeton U

niversity Press, 1984), vol. 2.

23. V

asari wen

t so far as to com

pare B

uo

ntalen

ti, as a sceno

grap

her, to

Brunelleschi installing angels on strings in his church decorations. Le vite de 'pill

eccellenti pittori, scu/tori, ed architettori, ed. Gaetano M

ilanesi, vol. 2, pp. 375ff.;

vol. 3, pp. 198ff. (the text is n

ot included in th

e English edition).

24. O

n S

erlio and the representation of the stage, aside from

the article by

Klein and Z

erner, see H

ubert D

amisch, "S

usp

end

ed R

epresen

tation

," in The

Origin 1P

erspective (Cam

bridge, MA

: MIT

, 1994), pp. 155-407.

25. "T

hese effects best responded to the B

aroque ideal of illusory perspec­

tives to infinity and continuous change. Th

e plastic and constructive elements o

f

sixteenth-century stage sets, in which the horizon w

as encu

mb

ered by architec­

ture, gave way to pictorial effects, w

ith the backdrop becoming the m

ain instru­

men

t for creating the illusion of space. A

erial perspective gradually replaced

AB

Y

wA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

linear geometry. T

he periaktoi, im

perfect instruments in a set designed for rapid

changes in the Interm

edi, gave w

ay to flat side wings, w

hich were lighter and

born of the sam

e principle as the form o

pen

in the middle." H

elene Leclerc, "L

a

Scene d'illusion et l'hegem

onie du theatre it l'italienn

e," in Guy D

um

ur (ed.),

Histoire des spectacles (P

aris: Gallim

ard, 1965), p. 598. Also see H

elene Leclerc,

Les Origines italiennes de l'architecture thiatrale m

oderne: ['Evolution des Jorm

es en

Ita lie de la Renaissance d la fin

du XV

IIeme siecle (P

aris: Droz, 1946). A

ccording to

Saslow, M

edici Wedding if 1589, p. 83, B

uontalenti did no

t use periaktoi for the

Intermedi, b

ut only sliding w

ings.

26. G

iovanni de' B

ardi, in Doni, Trattato della m

usica scenica, ch. 4, in Trat­

tati de musica, vol. 2, p. 16.

27. B

uontalenti's studies are watercolors o

n paper, m

easuring about 57 cm

by 47

cm, n

ow

in the B

iblioteca Nazionale o

f Florence. T

he figures intended to

serve as models for the characters in the representations m

easure about 27 cm

for the mo

st part.

28. "T

he m

od

el is someth

ing that has being for all etern

ity, while it, on the

oth

er hand, has been, is, and shall be for all time, foreverm

ore. Such w

as the rea­

son, then, such the god's design for the com

ing to b

e of tim

e, that he brought

into being th

e Sun, th

e Moon and five o

ther stars, for the b

egettin

g o

f time.

These are called 'th

e wanderers,' and they cam

e to be in o

rder to set lim

its to

and stand guard over the numbers o

f time. W

hen

the god had finished making a

body for each of them

, he placed them in

to the orbits traced by the period o

f the

Diffe

ren

t-seven bodies in seven orbits." P

lato, Timaeus 38, trans. D

onald J. Z

eyl, in Plato,

Com

plete Works (Indianapolis: H

ackett, 1997), p. 1242. Also see

the cosmo

logical deductions preceding it, as well as R

epublic 10.616, the myth o

f

Er the P

amphylian, w

ho

describes the structure o

f the universe after returning

from the land o

f the dead.

29. On

the m

usic of th

e Interm

edi, see D

.P. Walker (ed.), Les F

ites du

mariage de F

erdinand de Midicis et de C

hristine de Lorraine -Florence 1589, I: La

Musique de "La pellegrina" (P

aris: CN

RS

, 1963).

30. R

ossi, Descrizione del'apparato e degli Interm

edi, p. 33.

31. B

aldinucci, "Vie de B

ernardo Buontalenti," p. 517.

)

NO

TE

S

32. O

vid, Metam

orphoses 5.294.

33. O

n how

to make m

ountains emerg

e from beneath the stage, see N

icola

Sabbatini, P

ratica di Jabricar scene e macchine n

e' teatri, ed. Elena P

ovoledo

(Rom

e: Bestetti, 1955), bk. 2, ch. 24. S

abbatini devotes the first book of his trea­

tise on

comedies to fixed sets, based o

n the principle o

f verisimilitude and using

dep

th o

f field and perspective, and the second to the 1ntermedi, based on the

mobility o

f the sets and supernatural special effects.

34. O

n gushing w

ater represented by curling strips o

f cloth, see ibid., bk. 2,

chs. 35

-36

.

35. R

ossi, Descrizione del'apparato e degli Interm

edi, p. 35.

36. "[T

]he scene ... was basically and o

riginally tho

ug

ht o

f as a vision; the

cho

rus is the only 'reality' and generates th

e vision." Friedrich N

ietzsche, The

Birth if Tragedy, trans. W

alter Kaufm

ann (New

York: V

intage, 1967), no. 8, p.

65. 37. T

his, and the following passages, are from

Warburg, "T

heatrical Cos­

tumes for th

e Int ermedi o

f 1589," pp. 37

6-7

9.

38. W

arburg used, and wanted to reproduce, S

erjacopi's Ricordi e m

emorie

in the Germ

an edition o

f his study. A co

mplete transcription is found in M

at­

teini, "L'officina delle nuvole," pp. 174-249.

39. S

erjacopi adds, "Th

e above qu

otatio

ns b

eing

rather high, M

. Valerio

Cioli has been co

mm

issioned to do the work, w

hich he will begin on 8 F

ebru­

ary." Warburg, "T

heatrical Costum

es for the Intermed

i of 158

9," p. 516.

40. P

ollux, Onom

asticon 4.84 (Leipzig: T

eubner, 1900), pp. 2

25

-26

; Rossi,

Descrizione del'apparato e degli Interm

edi, pp. 4

2-4

8; W

arburg, "Theatrical C

os­

tumes for the Interm

edi of 1589," p. 397. A

trace of this episode surv

ives into

the nin

eteenth

century in the history of opera: "O

ne m

ight say that even W

ag­

ner w

rote his P

ythicon w

ith the co

mb

at betw

een the h

ero and th

e dragon

Fafner:' R

olland, Origines du thiatre lyrique m

oderne, p. 62, n.1. Also see R

aphael­

Geo

rg K

iesewetter, Schicksale und B

esch<iffenheit des w

eltlichen Gesanges,

vom

Jriihen Mittelalter bis zu der E

ifindung des drama tisch en Styles und den A

nJiingen der

Oper (L

eipzig, 1841), pp. 34ff.

41. Rossi, D

escrizione del'apparato e degli Intermedi, pp. 4

2-4

8.

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

42. O

n how

to make hell appear, see S

abbatini, Pratica di Jabricar scene e

macchine ne' teatri, bk. 2, chs. 22-23.

43. R

ossi, Descrizione del'apparato e degli Interm

edi, p. 52.

44. "T

he Dinner o

f the Seven Wise M

en," in Plutarch's M

oralia, trans. Frank

Cole B

abbitt (Cam

bridge, MA

: Harvard U

niversity Press, 1949-1976), vol. 2.

45. O

n B

otticelli's Venus, see above, pp. 69-71. O

n how to depict dolphins,

"which in sw

imm

ing seem to breathe w

ater," see Sabbatini, P

ratica di Jabricar

scene e macchine ne' teatri, bk. 2, ch. 34. C

hs. 28

-34

are devoted to the represen­

tation of the ocean.

46. R

ossi, Descrizione del'apparato e degli Interm

edi, p. 72.

47. Saslow

, Medici W

edding of 1589, pp. 158-60.

48. D

e' Bardi, in D

oni, Trattati di musica, vol. 2, pp. 233-48.

49. W

arburg, "Theatrical C

ostumes for the Interm

edi of 1589," p. 369.

50. See A

nnamaria T

estaverde Matteini, "C

reativita e tradizione in una sarto­

ria teatrale: L'abito scenico per Ie feste fiorentine del 1589," in D

ora Liscia B

empo­

rad (ed.), Jl costume nell 'eta del R

inascimen

to (Florence: E

difir, 1988), pp. 170-81.

51. W

arburg, "Theatrical C

ostumes for the Interm

edi of 1589," p. 396.

52. Ibid., p. 366.

53. Ibid., p. 367; R

ossi, Descrizione del'apparato e deBli Interm

edi, p. 40.

54. F

or Warburg's study on M

aria Portinari, see above, pp. 124ff.; for th

e

Imprese am

orose, see Aby W

arburg, "On

Imprese A

morose in th

e Earliest F

lorentine

Engravings" (1905), in R

enewal ofP

aBan A

ntiquity, pp. 169-85; and for his taste in

costumes and m

akeup, see above, n.9, and below, p. 333 n.lO

and figs. 62 and 92.

55. See the reliefs by A

gostino di Duccio for A

lberti's Tem

pio Malatestiano

(see below, p. 222).

56. O

n the relationship betw

een the Intermedi and the trip to N

ew M

exico

and Arizona, see K

urt Forster, "D

ie Ham

burg-Am

erika-Linie oder: W

arburgs

Kunstw

issenschaft zwisch

en den Kontinenten," in H

orst Bredekam

p, Michael

Diers, and C

harlotte Schoell-G

lass (eds.), Aby W

arburB: Akten des internationalen

Symposions, H

amburB

' 1990 (W

einheim: V

CH

, 1991), pp. 11-38; and Philippe­

Alain M

ichaud, "Florence in N

ew M

exico: The Interm

ezzi of 1589 in the L

ight

of Indian

Rituals,"

PhotoB

raphy at

the F

rontier: A

by W

arburB

in A

merica

)

NO

T E

S

1895-1896, eds. Benedetta C

estelli Guidi and N

icholas M

ann (London: W

arburg

Institute, 1998), pp. 53

-63

.

CH

AP

TE

R F

IVE

: A

MO

NG

TH

E H

OP

I

1. In 1914, F

reud noted that the Kreuzlingen clinic, directed by L

udwig

Binsw

anger, the future founder of D

aseinsanalyse, was one o

f the first public

institutions open to psychoanalysis. "On

the H

istory of the P

sychoanalytic

Movem

ent," The Standard Edition o

f the Com

plete Psychological W

orks of Sigm

und

Freud, ed. James S

trachey (London: H

ogarth Press, 1966), vol. 14, p. 34. O

n the

effects of the w

ar on Warburg's thought and the w

orkings of the library, w

hich

he transformed in

to a so

rt of observatory o

f the conflict, see Michael D

iers,

"Kreuzlinger P

assion," Kritische B

erichte 4-5

(1979), pp. 5-14.

2. W

arburg is alluding to the arrival of the S

partacists at the Warburg hom

e

in Ham

burg. It is said that he w

elcomed them

by offering them a drink. R

on

Chernow

, The Warburgs (N

ew Y

ork: Random

House, 1993), p. 209.

3. C

ited by Karl K

onigseder, "Aby W

arburg im B

ellevue," in Rob

ert Galitz

and Brita R

eimers (eds.), A

by M.

Warburg:

"Ekstatische N

ymp

he -trauernder

FlussB

ott": Portrait eines G

elehrten (Ham

burg: Dolling und G

alitz, 1995), p. 84.

4. E

rnst Gom

brich, Aby W

arburg: An Intellectual B

ioBraphy (L

ondon: War­

burg Institute, 1970), p. 110.

5. A

by Warburg, "O

n Im

prese Am

orose in the Earliest F

lorentine Engrav­

ings," in The Renew

al of PaBan A

ntiquity, trans. David B

ritt (Los A

ngeles: Getty

Res earch Institute, 1999), p. 176

. In a lecture he gave in Rom

e in 1912 on the

frescoes in the Palazzo S

chifanoia, Warburg rew

orked the same them

e, again

with regard to B

accio Baldini's astrological calendar. N

oting a change in style in

the treatm

ent of the fem

ale figure between th

e first edition (in 1465) and the

second, Warburg w

rote: "From

the Burgundian cocoon springs the F

lorentine

butterfly, the 'ny

mp

h: decked in the w

inged headdress and fluttering skirts of

the G

reek maenad o

r of the R

oman V

ictoria." "Italian Art and International

Astrology in the Palazzo S

chifanoia," in ibid., p. 585.

6. L

udwig B

inswanger to S

igmund F

reud, Nov. 8, 1921, cited in K

onig­

seder, "Aby W

. im B

ellevue," pp. 85-86. For the Luther, see W

arburg, Gesam

melte

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

Schriften, ed. Bern

hard

Bu

schen

do

rf and Claudia N

aber (B

erlin: A

kademie,

forthcoming), pp. 1

99

-29

9.

7. A

by Warb

urg

, "Bilder aus d

em G

ebiet d

er Pu

eblo

-Ind

ianer in N

ord

Am

erika," in Schlangenritual: Ein Reisebericht, ed. U

lrich Raulff (B

erlin: Wagen­

bach, 1988). Established by F

ritz Saxl and Gertru

d B

ing, the text is based on the

sketches and projects Warburg sen

t them

from K

reuzlingen. Th

e lecture w

as

published for the first tim

e in Eng

lish in the Journal of the W

arburg Institute in

1938-1939, vol. 2, pp. 277-90, in an abridged form. A

n Am

erican edition of the

lecture appeared in

1995, Images Jrom

the Region of the P

ueblo Indians of North

Am

erica, trans. Michael P. S

teinberg (Ithaca, NY

: Co

rnell U

niversity Press), w

ith

a postface by Steinberg (pp. 59-114), w

ho

brings in much unpublished m

aterial

and develops an interp

retation

of th

e lecture -

a questionable o

ne -

based on

Warburg's assim

ilation of H

opi culture and Judaism.

8. James L

oeb, lover of G

reek art and a stud

ent o

f Bernard B

erenso

n's at

Harvard, appeared as an enigm

atic double to Warburg. C

o-founder of th

e Insti­

tute o

f Musical A

rt (the future Juilliard School o

f Music) in 1905 and o

f the L

oeb

Classical L

ibrary in 1910, he financed, starting in 1920, the Germ

an Institute for

Psychiatric R

esearch in Munich. F

rom 1905 on, h

e lived in Germ

any, where his

fragile health (he was an ep

ileptic) often forced him

to stay in sanatoriums. See

Chernow

, Warburgs, pp. 7

7-8

0. O

n the history o

f the W

arburg family, see ibid.,

esp. pp. 35

-20

6 for the period concerning A

by.

9. G

ombrich, A

by Warburg, p. 130.

10. Ibid., p. 114.

11. S

ee below

, Appendix 3.

12. C

yrus Adler w

as the librarian of the S

mithsonian Institution. W

arburg

had conversations w

ith Frank H

amilton C

ushing on the meaning and the func­

tion of ornam

entation; from C

ushing he obtained firsthand inform

ation on the

lifestyle of N

ative Am

ericans. James M

ooney told him about the snake dance

among the Pu

eblos o

f New

Mexico. L

ast, Frederick W

ebb Hod

ge is the author of

the mo

nu

men

tal Handb

ook of Am

erican Indians N

orth of Mexico (W

ashington,

DC

: Governm

ent Printing O

ffice, 1907-1910).

Th

e last great cholera epid

emic in E

urope was in 1892.

NO

TE

S

13. See below

, Appendix 4.

14. C

ited by Alison G

riffiths, "'Journeys for Those W

ho Can N

ot T

ravel':

Prom

enade Cinem

a and the Museum

Life G

roup," Wide A

ngle 18.3 (July 1996),

pp. 64

-65

. I than

k K

en Jacobs for po

intin

g o

ut this tex

t to me. T

he displays

designed by Boas still ex

ist.

15. F

ranz Boas, "A

ddress at the International Congress o

f Arts and S

ciences,"

St. Louis, S

ept. 1904, cited in George W

. Stocking Jr. (ed

.), A F

ranz Boas Reader:

The Shaping of Am

erican AnthropoloB

J 1883-1911 (Chicago: U

niversity of C

hicago

Press, 1989), pp. 23ff.

16. See A

ppendix 3 above p. 293. Also see C

laudia Naber, "P

ompeji in N

eu­

Mexiko: A

by Warburgs am

erikanische Reise," F

reibeuter 38 (1988), pp. 88

-97

;

and Salvatore S

ettis, "Ku

nstg

eschichte als vergleichende Kulturw

issenschaft:

Aby W

arburg, die Pueblo-Indianer und das N

achleben der Antike," in K

unsthis­

torisches Austausch -

Akten des X

V/ll internationalen K

ongresses Jur Kunstgeschichte,

Berlin, July 1992, pp. 139-58.

17. A

by Warburg, "T

he T

heatrical Costum

es for the Intermedi o

f 1589," in

Renew

al of Pagan Antiquity, p. 350.

18. S

ee above, pp. 110-111.

19. F

rank McN

itt, Richard W

etherill: Anasazi, P

ioneer Explorer of the South­

western R

uins (1957; Albuquerque: U

niversity of N

ew M

exico Press, 1995), p.

347. Most o

f the objects discovered by Wetherill are now

in the U

niversity of

Pennsylvania M

useum, the C

olorado State M

useum in D

enver, and the National

Museum

of H

elsinki.

20. C

ited by Naber, "P

ompeji in N

eu-Mexiko," p. 9

1.

21. See above, pp. 158-59.

22. A

n exhibition of the photographs W

arburg took in Am

erica was held in

Ham

burg, in the form

er Kunstw

issenschaftliche Bibliothek W

arburg, by Nicho­

las M

ann and Ben

edetta C

estelli Guidi.

See

Ben

edetta C

estelli G

uidi and

Nicholas M

ann (eds.), Photographs at the F

rontier, Aby W

arburg in Am

erica, 1895-

1896 (London: W

arburg Institute, 1998).

From

Tim

othy H. O

'Sullivan and John K

. Hillers in the 1870s to A

dam C

lark

Vrom

an and, of co

urse, E

dward S. C

urtis at th

e beg

inn

ing

of the tw

entieth

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

centu

ry, ph

otograph

s were taken in the P

ueblo region focusing o

n artistic o

r

anthropological motifs. In th

e Warburg In

stitute A

rchive, on

e finds, under files

47

.2.4

.1,4

7.3

.2,4

8.1

2, and 48.13, a series o

f ph

oto

grap

hs in circular fo

rmat

(probably made w

ith a Kodak no. 2 snapsh

ot cam

era, com

mercialized in 1890)

that th

e Reverend H

enry

R. V

oth, from K

eams C

anyon, sent to

Warburg after

his return to New

York. A

nother group of th

ese photos, depicting

Pueblo cere­

monies, w

as published in two

works by V

oth: The Oraibi Pow

amu C

eremony and

The Mishongnovi C

eremonies if the Snake and A

ntelope Fraternities (C

hicago: Field

Co

lum

bian

Mu

seum

, 1901 and 1902). Voth, o

ne o

f the forem

ost ex

perts o

n

Hopi culture and ritual, w

as largely responsible for the creation of the collection

in the F

ield Colum

bian Museum

.

Warburg's photo-journalizing w

as also part o

f the rising trend

in amateur

photography, which to

ok

off in the 1890s. According to his lecture on January

21, 1897, at the Gesellschaft zur F

orderung der A

mateur-P

hotographie (Society

for the Developm

ent of A

mateur P

hotography) in Ham

burg, Aby used a "K

odak

Box C

amera," o

ne o

f the first cameras com

mercially m

ass-produced by Kodak.

On

the beginnings of am

ateur photography, see M

ichel Frizot (ed

.), A N

ew H

is­

tory if Photography (C

ologne: Konem

ann, 1988); and on its relation to Native

Am

erican ethnology, see Paula R

ichardson Flem

ing and Judith Luskey, The N

orth

Am

erican Indians in Early P

hotographs (New

York: B

arnes and Noble, 1992), pp

.

138-46.

23. N

aber, "Pom

peji in Neu-M

exiko," p. 95.

24. O

ne m

ight look for the origin of this transposition in G

ustaf Norden­

skiold's book, which devotes a long chapter to the civilization o

f the Pueblos in

the sixteenth century: "Th

e Pueblo T

ribes in the Sixteenth C

entury," in ClifJ­

Dw

ellers if the Mesa

Verde, Southw

estern Colorado (S

tockholm: N

orsted

t, 1893),

pp

.14

4-4

6.

25. N

aber, "Pom

peji in Neu-M

exiko," pp. 88

-89

.

26. F

ritz Saxl, "W

arburg's Visit to N

ew M

exico" (1929-1930), in Lectures

(London: W

arburg Institute, 1957), vol. I, p. 327. See M

aria Sassi, "Dalla scienza

delle religioni di Usen

er ad Aby W

arburg," in Arnaldo M

omigliano (ed.), A

spetti

di Herm

ann U

sener, filologo della re1igione (Pisa: G

iardini, 1982), pp. 65

-91

.

NO

TE

S

Usen

er's influence, if o

ne agrees w

ith the im

po

rtance Saxl grants to the N

ew

Mex

ican experience in W

arburg's thought, bears directly on that o

f the theorists

of know

ledge (Adolf B

astian, Tito V

ignoli ... ) to whom

Gom

brich, in his biogra­

phy, grants an im

po

rtance I find exaggerated. In an article published in 1902 in

the Hessischer B

latter Jur Volkskunde, U

sener w

ent so far as to com

pare the figures

in Greek com

edies to the ritual dancers in Zuni and H

opi ceremonies. C

ited by

Peter B

urke, "Histo

ry and A

nth

rop

olo

gy

in 1900," in Guidi and M

ann

, Pho­

tographs at the Frontier, p. 26.

27. See below

, App

endix 3. Warburg did n

ot w

ant his lectu

re to b

e pub­

lished, as he no

ted in an A

pril 6, 1923, letter, cited in Warburg, Schlangen ritual,

p.6

0.

28. W

arburg, Images Jrom

the Region if the Pueblo Indians, p. 2.

29.

Em

il Schm

idt, V

orgeschichte N

ordamerikas

im G

ebiet der V

ereinigten

Staaten (Brunsw

ick, 1894), pp. 179ff., cited in Warburg, Im

agesJrom the R

egion if the P

ueblo Indians, p. 4. Th

e copy of S

chmidt's book in the L

ondon institute has

a no

te in Warb

urg

's han

d, w

ritten in S

anta Fe, w

hich shows th

at he to

ok

Schm

idt's book along with him

. The passage he cited in his lecture is the only

on

e underlined in the whole book.

30. In the southw

est of the region explored by W

arburg, the Painted D

esert

stretched all along the railroad lines. See the map reproduced above, figure 63.

31. C

arl Georg H

eise, Perso·nliche Erinnerungen an A

by Warburg (N

ew Y

ork,

1947), p. 15.

32. N

ordenskiold, ClifJ-D

wellers if the M

esa Verde, p. 10.

33. W

ilhelm Jenson, G

radiva, a Pom

peiian Fancy, in S

igmund F

reud, Delusion

and Dream

, trans. Helen D

ow

ney

(New

York: M

offat, Yard, and C

ompany, 1917).

34. P

hilippe Morel, Les G

rottes manieristes en Italie au X

VIe siecle (Paris: M

ac-

ula, 1998).

35. W

arburg used the Germ

an spelling, kiwa.

36. W

arburg, Images Jrom

the Region if the Pueblo Indians, p. 10.

37. Ibid., p. 9. E

st!ifa (sweating room

) is the Spanish nam

e for kiva, named

for the fires that bu

rn there.

38. Ibid., p. 13.

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

IO

N

39. O

ne im

agines that th

e halting rhythm o

f the lecture and the abrupt shifts

in the chain of ideas fo

llowed th

e sequences of photographs. In th

e succession of

images that appeared o

ne after th

e oth

er and imm

ediately disappeared in short­

lived returns of m

emo

ry, on

e detects a sort o

f hypnotic state that m

ight also echo

the preparatory

phase of the lecture. W

arbu

rg indicated in the m

argins of his

no

tes that they were drafted und

er the influence o

f opium (see A

ppendix 3).

40. W

arburg, Images from

the Region of the Pueblo Indians, p

. 14. Traces o

f

this episode can b

e found in the great study Warburg publish

ed in 1912, "Italian

Art and In

ternational Astrology in th

e Palazzo Schifano

ia," in Renew

al of Pagan

Antiquity, pp. 5

63

-93

.

41. W

arburg, Images from

the Region of the P

ueblo Indians, p. 15.

42. See above, p. 102.

43. "[B

lack Mesa] rises o

ut o

f the Painted D

esert more than seven thousand

feet. ... It takes its name from

the seams o

f coal exposed in its tow

ering cliffs,

bu

t its colors are the grays and greens of sage, rabbit brush, and the dark green o

f

creosote brush, mesquite, pinon, and (in a few

places w

here springs flow) pine

and spruce." Ton

y Hillerm

an, The

Dark

Wind (T

ho

rnd

ike, M

E: T

ho

rnd

ike,

1982), pp. 167-68.

44

. Warburg, Im

ages from the R

egion of the Pueblo Indians, p. 11.

45. See above, pp. 120-21.

46. In ch

apter 179 o

f the Libro dell'a

rte, Cen

nin

o Cen

nini m

entio

ned a

practice ch

aracterized by th

e same d

istinctio

n b

etween fig

ures in paintings,

painted men, and doll m

annequins: "This chapter introduces us to an unusual

custom o

f the times, that o

f painting human faces n

ot only w

ith tempera b

ut also

with oil paint and varnish," n

otes G

iuseppe Tam

broni (Cen

nin

i's nin

eteenth

­

century Italian editor), cited by Co

lette Deroche, Le Livre de l'art (P

aris: Berger­

Levrault, 1991), p. 320

.

This in

trod

uction o

f bodies into the representation, w

ith all its funerary and

soteriological connotations, culm

inates, in C

ennini's text, in the chapter on wax

self-portrait: "You can also m

old yo

ur perso

n in the following m

anner: P

repare

a quantity o

f clay or w

ax, well m

ixed and clean; knead like a supple unguent; and

spread over a large table, such as a kitchen table. T

hen pu

t it on the floor, creat-

370

\

NO

TE

S

ing a thickness of a half-arm

's length. T

hen lie on top of it, eith

er on the front or

back, or on you

r side. A

nd if this clay or w

ax receives you well, rem

ove yourself

from it carefully, evenly, w

itho

ut m

oving to the left or right" (pp. 334ff).

In Warb

urg

's con

ceptio

n o

f the im

itative magic o

f the Pueblo Indian

s in

1923, on

e recognizes the influence o

f Totem and Taboo, F

reud's 1913 essay (and

furthermore inspired b

y James F

razer), to which W

arburg certainly had access

in the K

reuzlingen sanato

rium

. See in p

articular "A

nim

ism, M

agic, and the

Om

nip

oten

ce of T

houghts," in Totem and Taboo, Standard E

dition (1966), vol. 13,

pp. 75-100. Warburg began to collect Freud's w

orks for his library at the begin­

ning of the tw

entieth

century.

47. W

arburg, Images

from the R

egion of the Pueblo Indian

s, p. 6. Co

mm

entin

g

on a photo he had taken of kachinas, W

arburg remarked that a broom

was hung

right in the midst o

f the dolls, an emblem

of m

od

ernity

and a symbo

l of the dis­

app

earance of N

ative Am

erican cultures. Th

e analysis of co

ntradictions found

within the representations leads to a m

ethod based on a technique of m

ontage in

the picture plane.

48.

See above, p. 148.

49. B

astiano de' R

ossi, Descrizione del'apparato e degli Interm

edi: Farti per 1a

Com

media rappresentata in F

irenze:

Nelle nozze de'Serenissim

i don F

erdinando

Medici,

e Madam

a Cristina di Lorena G

ran Duchi di Toscana (F

lorence: An

ton

Padovani, 1589), p. 40. See above, pp. 165-68.

50. F

or a com

pariso

n o

f the p

rop

hy

lactic natu

re of bells and percussive

sound

s in Greek A

ntiquity, see A.B

. Cook, "T

he G

ong of D

od

on

a," Journal of H

ellenistic Studies 22 (1902), p. 5.

51. W

arburg, Images from

the Region of the P

ueblo Indians, p. 27.

52. E

lias Can

etti, Crow

ds and Power, trans. C

arol S

tewart (N

ew Y

ork: The

Viking P

ress, 1963), p. 135: "Th

e rain dances are increase dances intended to

pro

cure rainfall. T

hey, as it were, stam

p th

e rain up ou

t of th

e grou

nd

. Th

e

pounding of the dancers' feet is like the fall o

f rain. They go on dan

cing through

the rain if it begins during the performan

ce. Th

e dance which represents rain

finally beco mes it. T

hrough rhythmic m

ovemen

t a group of ab

ou

t forty people

transforms itself into rain:'

371

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

53. W

arburg, Ima8esJrom

the Re8ion o

f the Pueblo Indians, p. 34.

54. O

n the chifJonetti, another m

ajor group of clow

n dancers, identifiable

by the horizontal black and white stripes w

ith wh

kh

they are covered and by the

two tufts o

f hair gathered on either side of their heads w

ith cornstalks, see V

ir­

ginia More R

oediger, Cerem

onial Costum

es of the P

ueblo Indians (1941; Berkeley:

University o

f California P

ress, 1991), pp. 228-34.

55. Jesse W

alter Few

kes, "Tusayan K

atcinas," Annual R

eport of the B

ureau of

EthnoloB

J, 1893-1894 (Washington, D

C: S

mithsonian Institution, 1897), p. 294.

56. W

arburg, Ima8es from

the Re8ion o

f the Pueblo Indians, p. 17. A

lso see

above, pp. 184-85, and fig. 65.

57. F

riedrich Nietzsche, The B

irth ofTra8edy, trans. Walter K

aufmann (N

ew

York: V

intage, 1967), no. 8, p. 62.

58. Ibid., no. 9, p. 67.

59. Journal of the R

oyal Anthropo

lo8ical Institute 68, reprin

ted in M

arcel

Mauss, Sociolo8ie et anthropolo8ie (P

aris: PU

F, 1950), pp. 331-62. M

auss notes

(p. 337) that his studies on the notion of personhood originated in the study o

f

ritual ceremonies am

ong the Pueblo Indians.

60. R

aymond B

loch, "Etrurie, R

ome, et m

on

de rom

ain," Le Masque, exhibi­

tion catalog, Musee G

uimet (P

aris, 1960), p. 80.

61. M

auss, Sociolo8ie et anthropolo8ie, pp. 353-54. Faced w

ith the burlesque

and morbid phersu, the chained slave appears to

illustrate the precep

t "Servus non

habet personam": he is deprived o

f personality and even the possession of his ow

n

body. 62. Jacob B

urckhardt, Beitrii8e zur K

unst8eschichte von ltalien (Basel, 1898),

p. 351.

63. A

by Warburg, "D

iirer and Italian Antiquity," in R

enewal ofP

a8an Antiq­

Uity, p. 558.

64. A

ccording to Salvatore S

ettis, the concept of the pathetic form

ula elab­

orated by Warburg is based on a tension b

etween

the Pathos, w

hich designates a

transitory mo

vem

ent o

f affection, and the form in w

hich it is inscribed, which

presupposes duration. Th

e Pathoiform

eln thus designate the reperto

ry o

f figures

capable o

f accounting for the appearance of a body in search o

f its own m

odifi-

372

\

NO

TE

S

cations. This rep

ertory

designates bo

th the w

ay in which R

enaissance artists

interp

reted m

odels of A

ntiquity and the way in w

hich historians of m

od

ern art

-and W

arburg in particular -sought to elucidate the m

echanisms o

f this trans­

mission. "P

athos und Ethos, M

orphologie und Funktion," in Vortrii8e aus dem

Warbur8-H

aus (Berlin: A

kademie, 1997), vol. 1, pp. 31-73, esp. pp. 40-41.

On

Apollo and P

ython in the third Intermedio, see above, pp. 159-62.

65. "T

he S

nake Cerem

onials at Walpi," A

Journal of A

merican E

thnoloBJ and

ArcheoloB

J, vol. 4 (Boston: H

ou

gh

ton

Mifflin, 1894). In th

at text, F

ewkes de­

scribes th

e ritual he witnessed in W

alpi in 1891. He devoted an

oth

er text to

a

comparative study o

f the serpen

t ritual in Cipaulovi and O

raibi. "Tusayan S

nake

Cerem

onies," in the Annual R

eport of the B

ureau of E

thnoloBJ (W

ashington, DC

:

Sm

ithsonian Institution, 1897), pp. 273-312, is based on his research in 1894-

1895. It is to this tex

t that m

ost com

men

tators on Warburg refer. E

leven years

after Few

kes, in 1902, a cameram

an from the E

dison Com

pany, James H

. Wh

ite,

filmed the successive phases o

f the serpent ritual in A

rizona, in a series of very

sho

rt do

cum

ents m

ade almo

st ind

eciph

erable by the distance o

f the camera:

Parade of the Snake D

ancers Bifore the D

ance (42/1), The March o

f Prayer and the

Entrance o

f the Dancers (1 '26/1), Lineup and Teasin8 o

f the Snakes (1 '10/1), Carryin8

the Snakes (58/1). Copies in the L

ibrary of C

ongress, Washington, D

C. In 1903,

Edw

ard S. Curtis film

ed the ritual, actually taking part in the dance: he shot in

the piazza, in the middle o

f the dancers.

Voth sim

ultaneously describes the rituals he witnessed in O

raibi in 1896,

1898, and 1900. In Sun Chiif, D

on

C. T

alayesva describes the presence ofV

oth

in

Oraibi, on the occasion o

f the serpen

t ceremony o

f 1912, in very hostile terms:

"Th

e land wa; very dry, the crops suffered, and even the S

nake dance failed to

brin

g m

uch rain. We tried

to discover th

e reason for ou

r plight, and remem

­

bered the Rev. V

oth who had sto

len so many o

f our ceremonial secrets and had

even carried off sacred images and altars to equip a m

useum and becom

e a rich

man. W

hen

he had worked h

ere in my boyhood, the H

opi were afraid o

f him

and dared no

t lay their hands on him o

r any oth

er missionary, lest they be jailed

by the Whites. D

uring the ceremonies this w

icked man w

ould force his way into

the kiva and write d

ow

n everything that h

e saw. H

e wore shoes w

ith solid heels,

373

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

and when the H

opi tried to pu

t him o

ut o

f the kiva h

e wo

uld

kick them

. He

came back to O

raibi on a visit and too

k d

ow

n m

any mo

re names. N

ow I w

as

grown

, educated in the W

hites' school, and had no fear o

f this man. W

hen

I

heard that he w

as in my m

oth

er's house I wen

t over and told him to g

et out. I

said, 'You b

reak th

e com

man

dm

ents o

f yo

ur ow

n God. H

e had ord

ered you

never to steal o

r to have any o

ther gods before him

. He has told you to avoid all

graven images; b

ut yo

u have stolen ours and set them

up in your museum

. This

makes you a th

ief and an idolator who can never go to heaven.' I kn

ew the H

opi

Cloud P

eople despised this man, and even though h

e was n

ow

old and wore a

long beard, I had a strong desire to seize him by th

e collar and kick him off the

mesa." D

on C. T

alayesva, Sun Chiif, ed. L

eo W S

imm

ons (New

Haven, C

T: Y

ale

University P

ress, 1942), p. 252.

Warb

urg

mig

ht also have used the w

ork

by Geo

rge Wh

arton

James, The

Mokis and Their Snake D

ance (1898), and a charming little b

oo

k by W

alter Hough,

The Mob Snake D

ance (1898), where the photograph

s of W

harto

n Jam

es, Hillers,

Vrom

an, and Voth w

ere published. Both w

ere found in the Warburg L

ibrary.

66. H

enry

R.

Voth, The

Oraibi Sum

mer Snake C

eremony (C

hicago: Field

Co

lumbian M

useum, 1903), p. 280.

67. Ibid., pp. 341-42.

68. F

ewkes, "T

usayan Katcinas," pp. 6lff.

69. V

oth, Oraibi Sum

mer Snake C

eremony, p. 340.

70. Ibid

., p. 346.

71. F

ewkes, "T

he S

nake Cerem

onies at Walpi," p. 87.

72. A

s shown in the photographs taken by V

oth during the rituals of 1896,

1898, and 1900, the snakes w

ere seized by the neck, without their head

s entering

the dancers' mouths. V

oth wrote: "I have there seen dancers hold tw

o, three, and

on occasion even four snakes at one tim

e betw

een the teeth, the reptiles inter­

twining into a ball as it w

ere in front of the dancer's m

outh. On

on

e occasion I

saw a snake that w

as held about midw

ay of its length trying to

get into the ears

and nose of the dancer; several tim

es I noticed a man having stuffed a sm

all snake

into his mouth en

tirely, the head of the reptile only protruding from

between his

lips." V

oth, Oraibi Sum

mer Snake C

eremony, p. 346, n.2.

37

4

NO

TE

S

73. Ibid., p. 348.

74. F

riedrich Nietzsche, Thus Spoke Z

arathustra, trans. Walter K

aufmann

(New

York: P

enguin, 1954), pt. 3, ch. 2, "O

n the V

ision and the Riddle," pp.

159-60.

75. L

eon Battista A

lberti, On P

aintin8, trans. John R. S

pencer (New

Haven,

CT

: Yale U

niversity Press, 1966), p. 81. O

n the serpentin

e form in the R

enais­

sance, see David S

umm

ers, "Th

e Figora S

erpentinata," The Art ~arterly 35.3

(1972), pp. 269-301.

76. F

riedrich Nietzsche, Introduction aux lefons sur J'O

edipe-Roi de Sophocle

(1870), trans. Frans:oise Dastur and M

ichael Haar (P

aris: Encre M

arine, 1994),

pp

.37

-38

.

77. W

illiam H

. Goetzm

ann, The First Am

ericans: P

hoto8raphs from the Library

of Conaress (W

ashington, DC

: Starw

ood, 1991), p. 112

. Mauss referred

to the

kachina dance in 1938, still full o

f life at the end of the n

ineteen

th century in his

op

inio

n, as a spectacle n

ow

reserved for tourists. "Un

e Categ

orie d

e ]' esprit

humain: La N

otion de personne, ceJle de 'm

oi,'" in Sociolo8ie et anthropoloBie, p.

339. On

the disapp

earance of the ritual, see L

eah Zilw

orth, Ima8inin8 Indians in

the Southwest: P

ersistent Visions of a P

rimitive Past (W

ashington, DC

: Sm

ithsonian

Institution, 1996), pp. 21-77.

78. W

arburg, Ima8es from

the Re8ion of th

e Pueblo Indians, p. 50. In his jour­

nal, on Septem

ber 9, 1929, Warburg spoke o

f the mercury colum

n showing the

approach of a storm

as a weapon against the fear o

f Satan. G

ombrich, A

by War­

bur8: An Intellectual B

io8raphy, p. 302.

79. A

t this po

int, art history as invented by W

arburg became an analysis

of m

od

ernity

(un

dersto

od

as negativity): it w

ou

ld find its ex

tensio

n in th

e

hen

om

eno

log

y o

f surfaces and the th

eories o

f disen

chan

tmen

t developed

si 1ultaneously by Walter B

enjamin and S

iegfried Kracauer. In this regard, the

c rrespondence b

etween

Panofsky and K

racauer reveals that the latter, during

t e 1930s and 1940s, at th

e time o

f his imm

igration to New

York and his elabo­

ration of his Theory of F

ilm, had ex

plicitly formulated the project o

f creating a

jun

ction

between the Institut fur sozial F

orschung (Frankfurt S

chool) and the

Warburg Institute. H

e therefore appeared, from th

e point of view

of the analysis

375

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

of contem

poraneity, as the most consisten

t of W

arburg's followers. See Sieafried

Kracauer-

Erw

in Panrifsky: Briifw

echsel, 1941-1966, ed. Volker B

reidecker (Berlin:

Akadem

ie, 1996).

80. W

arburg, ImaBes from

the ReBion 1 the Pueblo Indians, p. 54.

CH

AP

TE

R S

IX:

HA

MB

UR

G:

TH

E A

RT

HIS

TO

RY

SC

EN

E

1. F

ritz Saxl, "T

he H

istory of W

arbu

rg's L

ibrary (18

86

-19

44

)," in Ern

st

Gom

brich, Aby W

arburB: An Intellectual B

ioBraphy (L

ondon: Warburg In

stitute,

1970), p. 327. On

this po

int, see the fu

nd

amen

tal article by Salvatore Settis,

"Warb

urg

continuatus: Descrip

tion

d'u

ne b

iblio

theq

ue," in M

arc Baratin and

Christian Jacob (eds.), Le P

ouvoir des bibliotheques: La Mem

oire des livres en Occi­

dent (Paris: A

lbin Michel, 1996), pp. 12

2-6

9. O

n the configuration and m

eaning

of the library, see M

artin Jesinghausen-Lauster, D

ie Suche nach der symbolischen

Form: D

er Kreis

um die K

ulturwissenschciftliche B

ibliothek WarburB (B

aden-Baden:

Valentin K

oern

er, 1985), wh

o con

siders th

e library a sym

bo

lic structu

re in

which each elem

ent, each arrangem

ent, is charged with philosophical o

r occult

meaning.

Tilm

ann von Stockhausen disagrees w

ith this interp

retation

. He m

inutely

reconstructs the genesis of the library, w

hich he imagines as a rational process

integrating the mo

st recent and sophisticated technological advances: concrete

structure, intern

al system o

f com

mu

nicatio

n, electrical transm

issions, projec­

tion systems. D

ie Kulturw

issenschciftliche Bibliothek W

arburB -A

rchitektur, Einrich

­

tunB, und O

rBanisation (H

amburg: D

olling und Galitz, 1992), esp. p. 26.

Also see H

erman

n H

ipp, "Strebende und tragende K

rafte: Die F

assade der

K.B

.W.," in P

ortriit aus Buchern (H

amburg: D

olling und Galitz, 199

3). This essay

puts the construction of th

e library into the con

text o

f con

temp

orary

Germ

an

architecture.

2. F

ritz Saxl, "D

er Kulturw

issenschaftliche Bibliothek in H

amb

urg

," in

Ludolph B

rauer et al. (eds.), ForschunB

sinstitute -ihre G

eschichte, O

rBanisation,

und Ziele (1930; Vaduz/L

iechtenstein: Topos V

erlag, 1980), vol. 2, pp. 35

5-5

8.

3. M

nemosyne: B

eitriiBe zum

50: TodestaB von Aby M

. W

arburB (Go

tting

en:

Gratia, 1979), pp. 16-17. In 1933, a form

er stud

ent o

f Warburg's, W

erner K

aegi,

NO

TE

S

described the strange impression W

arburg made on him

when he first encoun­

tered him in K

reuzlingen, in autumn 1921. T

he stu

den

t was retu

rnin

g from

a

course of study in F

lorence and was visiting a friend. W

alking on

e mo

rnin

g in

the sanatorium park, he saw

"a small hum

an form [eine kleine m

iinnliche Gestalt)"

comin

g toward him

: "He w

as surprisingly sm

all, of a robust and healthy consti­

tutio

n, w

ith th

e features of his face giving a m

ixed impression o

f suffering,

struggle, violent constraint, and a magical w

ill to po

wer precipitated in m

arble."

Wern

er Kaegi, "D

as Werk

Aby W

arburgs," Neue schw

eizer Rundschau (19

33),

no

tebo

ok

5, pp. 28

3-9

3.

4. E

rnst C

assirer, "Th

e Subject-O

bject Problem

in the P

hilosophy of the

Renaissance," in The Individual and the C

osmos in R

enaissance Philosophy, trans.

Mario D

omandi (N

ew Y

ork: H

arper & R

ow, 1963), p. 127. O

ne m

ight consider,

alongsid

e The Individual and the C

osmos, an

oth

er imp

ortan

t text in th

e tradition

of W

arburg, Raym

ond Klibansky, E

rwin P

anofsky, and Fritz S

axl's Saturn and

Melancholy (L

ondon: Nelso

n, 1964), as

a po

rtrait based on the fo

un

der o

f

the Kunstw

issenschaftliche Bibliothek (w

ho

is, curiously eno

ugh, cited bu

t

marginally).

5. A

by Warb

urg

, Images from

the

Region 1 the P

ueblo Indians cif N

orth

Am

erica, trans. Michael P. S

teinberg (Ithaca, NY

: Co

rnell U

niversity Press, 1995),

p.2

. 6. C

ited by Gom

brich, Aby W

arburg: An Intellectual B

iography, p. 91.

7.Ib

id.,p

.B8

.

8. R

ecounted in ibid., p. 46.

9. C

ited by Stockhausen, K

ulturwissenschciftliche B

ibliothek Warburg, p. 51.

10. Ibid., p. 154.

11. Saxl, "T

he H

istory of W

arburg's Library," p. 329.

12. "T

he masked dance is danced causality," W

arburg wro

te in the notes to

lecture, in very M

aussian terms; see Im

ages from the R

egion 1 the Pueblo Indi­

a s, p. 48. Also see Jesinghausen

-Lauster, D

ie Suche nach der symbolischen Form

;

and Stockhausen, K

ulturwissenschciftliche B

ibliothek Warburg, pp. 36ff.

13. C

arl Georg H

eise, Persiinliche E

rinnerungen an Aby W

arburg (New

York,

1947), p. 50.

377

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

14. Warburg, A

usBew

iihlte Schriften und WiirdiB

unBen, p. 592, no. 99

. The

text w

as published in Italian in Milan in 1971

in the only issue of A

delphiana

(reprinted in Aut aut 199-200 [1984], pp. 4

6-4

9). O

ne m

ight see this strange

phrase as a displacement o

f the "wave" theory (W

ellentheorie) of the neo-gram

­

marian Johann

es Schm

idt (Die

Verw

andtschaJtsverhiiltnisse der indoBerm

anischen

Sprachen [Weim

ar, 1872]), according to which the transform

ation of a linguistic

module occurs n

ot, as his great predecessor A

ugust Schleicher claim

ed, in a fam­

ily-tree-like pattern (Stamm

bautheorie) but in successive waves that evolve from

the center o

f the system

and spread ou

t to its peripheries. On

the relationship

between W

arburg and the Germ

an school of neo-gram

marians, see O

mar C

ala­

brese, "Geografia di W

arburg: Note su linguistica e iconologia," A

ut aut 199-200

(1984), p. 113.

15. O

n F

ino, see Charles A

ndler, N

ietzsche: Sa Vie et sa pensee (Paris: Galli­

mard, 1958), vol. 2, p. 676. O

n dolphins in the Intem

edi of 1589, see above, p.

163. In his Le§ons sur l'hysterie virile, published in 1859 (P

aris: Le S

ycomore,

1984), Charcot described the attacks o

f on

e of his patients, w

ho was fifty-six

years old and employed by th

e railroad, in terms rem

iniscent o

f the T

urin

episode: "T

he hysterical attack is seen here in the no less typical form of vertigo,

with loss o

f consciousness preceded by an evolution of phenom

ena characteris­

tic of aura: 'Th

e noises coming from

the streets, a cry, the sound of a w

hip bring

on my attacks,' h

e said, ' ... I'm forced to lean against a w

all. Som

etimes I've even

lost consciousness for a few seconds, and this happ

ened, in particular, the oth

er

day on rue La F

ayette following an em

otio

n I felt w

hen a ho

rse fell. It was

impossible for m

e to return

home w

itho

ut the help o

f a friend accompanying

me'" (p. 188).

16. C

ited by Gom

brich, Aby W

arburB: An Intellectual B

ioBraphy, p. 303.

17. See S

igmund F

reud, "Mourning and M

elancholia," The Standard Edition

if the Com

plete PsycholoB

ical W

orks if SiBm

und Frelid, ed. James S

trachey (Lon­

don: Hogarth P

ress, 1966), vol. 14, pp. 237-59; and Ludw

ig Binsw

anger, Melan­

chohe und Manie; phiinom

enoloBische Studien (P

fullingen: Neske, 1960).

18. Saxl, "W

arburg Besuch in N

eu Mex

ico," in Warburg, A

usBew

iihlte Schriften

und WiirdiB

unBen, p. 319.

/

NO

TE

S

19. G

rundleBende B

ruchstiicke zu einer praBm

atischen Ausdriickskunde (unpub­

lished), Feb. II, 1889.

20. W

arburg, AusB

ewiihlte Schriften und W

iirdiBunB

en, p. 592, nos. 102-107.

At the tim

e of W

arburg's death, in 1929, the atlas, which rem

ained incomplete,

included several dozen panels, on which about one thousand photographs w

ere

attached. Aside from

Martin W

arnke and Claudia B

rink (eds.) (Berlin: A

kade­

mie, 2000), see M

arianne Koos et aI., eds., B

eBleitm

aterial zur AusstellunB

"Aby M

.

WarburB.

Mnem

osyne" (Ham

burg: DO

lling und Galitz, 1994). A

lso see the fine

study by Giorgio A

gamben, "A

by Warburg and the N

ameless S

cience," in Poten­

tialities: Collected E

ssays in Philosophy, trans. D

aniel Heller-R

oazen (Stanford,

CA

: University P

ress, 1999); Roland K

any, Mnem

osyne als ProBramm

: Geschichte,

ErinnerunB

und die Anadacht zum

Unbedeutenden im

Werk von usener. W

arburB und

Benjam

in (Tiibingen: N

iemeyer, 1987). D

orothee Bauerle, G

espensterBeschichten

Jiir Banz E

rwachsene:

Ein

Kom

mentar zu A

by W

arburBs B

ilderatlas Mnem

osyne

(Miinster: L

it, 1988); and Gom

brich, Aby W

arburB: An Intellectual B

ioBraphy, p.

283-3

06

.

21. C

ited by Gom

brich, Aby W

arburB: An Intellectual B

ioBraphy, p. 302.

22. W

arburg, ImaBes from

the ReBion if the Pueblo Indians, pp. 7

-8.

23. See above, pp. 30 and 68ff.

24. See above, p. 115

.

25. G

ombrich, A

by WarburB: A

n Intellectual BioB

raphy, p. 287.

26. T

hese panels are found in BeB

leitmaterial zur A

usstellunB ''A

by M.

War­

burB. Mnem

osyne"; see p. 235, n.1.

27. O

n th

e Pathoiform

eln, see Salvatore S

ettis, "Pathos und E

thos, Mor­

phologie und Funktion," in VortriiBe aus dem

W

arburB-H

aus (Berlin: A

kademie,

1997), vol. I, pp. 31-73.

28. W

arburg used the phrase in his 1929 journal. C

ited by Gom

brich, Aby

WarburB: A

n Intellectual BioB

raphy, p. 253.

29. U

lrich Raulff, "Z

ur K

orrespondenz Ludw

ig Binsw

anger -A

by Warburg

im U

niversitatsarchiv Tiibingen," in H

orst Bredekam

p, Michael D

iers, and Char­

lotte S

choell-Glass (eds.), A

by WarburB. A

kten des internationalen Symposions,

Ham

burB. 1990 (W

einheim: V

CH

, 1991), p. 66.

37

9

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

30. T

he W

arbu

rg fam

ily had interests in the H

AP

AG

shipping company,

which has since becom

e an aviation firm, w

hose planes can be seen at the Ham

­

burg airport. Mnem

osyne, p. 77.

31. W

arburg, Ima8es from

the Re8ion rif the Pueblo Indian

s, p. 30.

32. Ibid., p. 64.

33. T

hese draw

ings, now in th

e Ham

bu

rger V

iilkerkunde Mu

seum

(see

Warburg, A

us8ewiihlte Schriften und W

iirdi8un8en, p. 319), were p

art of an exhi­

bition of children

's drawings, D

as Kind als K

iinstler, organized at the Ham

burg

Kunsthalle in 1898. T

he preface to the catalog reproduced Warburg's explana­

tory

remarks, w

hich he had sent from

Florence to accom

pany the presentation

of the draw

ings: "Th

ey dem

onstrate. a rem

arkable mem

ory

for forms, a fertile

imagination, an intelligence for m

otifs in motion, and rem

arkably fine expres­

sive characteristics. On

an ethnological plane, it is interesting to no

te that some

of the children drew

lightning in the shape of an arrow

or snake w

ith a pointed,

arrow-shaped head, and clouds in the system

atic man

ner in w

hich their tribes

dep

ict them

, even today, in the sand paintings in the un

derg

rou

nd

roo

ms in

which they gather" (p. 2).

34. H

eise, Personliche E

rinnerun8en an Aby W

arbur8' pp. 32-33.

35. See above, pp. 194-97.

36. See below

, Appendix 3.

37. H

eise, Personliche E

rinnerun8en an Aby W

arbur8' p. 50.

Ap

PE

ND

IX O

NE

: Z

WIS

CH

EN

RE

ICH

This tex

t is a revised version of a lecture given at the E

cole normale superieure

in Janu

ary 1999 for th

e con

ference "A

by Warb

urg

and the A

nth

rop

olo

gy

of

Images," organized by G

iovanni Careri and C

arlo Severi. It w

as published in Les

Cahiers du M

usee national d'art moderne 70 (W

inter 1999-2000).

1. T

here are three different versions of the atlas, as w

ell as Warburg's notes

on the project, at the Warburg Institute. S

ee Peter van H

uisstede, "Der M

nemo­

syne-Atlas: E

in Laboratorium

der B

ildgeschichte," in Ro

bert G

alitz and Brita

Reim

ers (eds.), Aby M

. W

arbur8: "Ekstatische N

ymp

he-

trauernder Fluss8ott": Por­

trait eines Gelehrten (H

amburg: O

Win

g und G

alitz, 1995), pp. 130-71; and Clau-

/

NO

TE

S

dia Naber, "H

euern

te bei Gew

itter: Aby W

arbu

rg, 1924-1929," in ibid., pp.

104-29.

2. E

rnst Gom

brich, Aby W

arbur8: An Intellectual B

io8raphy (London: W

ar­

burg Institute, 1970), p. 253.

3. Ibid., p. 284. V

an Huisstede (in "M

nemosyne, A

tlas," p. 168, n.l) notes

that he has found no trace o

f Saxl's participation in the M

nemosyne project in the

Warburg Institute A

rchive.

4. S

ee the album

of p

ho

tog

raph

s taken

in the A

merican W

est edited

by

Ben

edetta C

estelli Guidi and N

icholas Mann, P

hoto8raphs at the Frontier: A

by

Warbur8 in A

merica, 1895-1896 (L

ondon: Warburg Institute, 1998).

5. O

n W

arburg's time in the clinic directed by L

udwig B

inswanger, see K

arl

Kiinigseder, "A

by Warburg im

Bellevue," in G

alitz and Reim

ers, Aby M

. Warbur8:

Portrait eines G

elehrten, pp. 74-98. Kurt F

orster goes so far as to sketch a parallel

betw

een the stru

cture o

f the Hopi altars and th

at of the panels o

f Mnem

osyne:

"Th

e atlas was, to a certain extent, clearly an in

strum

ent o

f conjuration, and as

such its panels, with their carefully arranged objects, share m

any traits with the

Hopi cerem

onial altars. Although they are w

orlds apart, both the altar and the

atlas present attempts at o

rder-

attempts to present, by m

eans of specific objects,

the greatest 'energ

etic' relations that govern the wo

rld:' (K

urt F

orster, "War­

burgs Versu

nk

enh

eit," in Galitz and R

eimers, A

by M.

Warbur8: P

ortrait eines

Gelehrten, p. 200.)

6. See A

ppendix 3, p. 314.

7. S

igmund F

reud, "Totem

and Taboo," The Standard E

dition rif the Com

plete

Psycholo8ical

Works of Si8m

und Freud, ed. Jam

es Strachey (L

on

do

n: H

og

arth

Press, 1966), vol. 13, p. 1.

8. F

ritz Saxl, "W

arbu

rg's V

isit to N

ew M

exico" (1929-1930), in Lectures

(London: W

arburg Institute, 1957), vol. 1, p. 327.

9. W

erner H

ofmann, "D

er Mnem

osyne-Atlas: Z

u Warburgs K

onstellatio­

nen

," in Galitz and R

eimers, A

by M. W

arbur8: Portrait eines G

elehrten, pp. 172-83.

10. M

artin Warnke challenged G

ombrich's idea that, inspired by S

emon's

theory of m

emory, W

arburg sought to give his theory of m

emo

ry a biological

foundation (see Martin W

arnke, "Vier S

tichworte: Ikonologie, P

athosformel,

AB

Y

WA

RB

UR

G

AN

D

TH

E

IM

AG

E

IN

MO

TIO

N

Polaritat und A

usgleich, Schlagbilder und B

ilderfahrzuge," in Wern

er Hofm

ann,

Georg S

yamken, and M

artin Warnke (eds.), D

ie Menschenrechte des A

uges: Uber

Aby W

arburg (Frankfurt: E

uropaische Verlagsanstalt, 1980).

11. T

he magic nature of the them

e of resurgence is balanced by the im

plicit

criticism o

f the fetishism o

f the original suggested in the use of photographic

reproductions (See H

ofmann, "M

nemosyne-A

tlas," pp. 172-73).

12. O

ne finds again the m

otif of the F

arnese Hercules in the project for an

exhibition devoted to the history o

f the heavens sketched ou

t by Warburg for the

Ham

burg planetarium. It w

as presented, posthumously, in 1930, using the tabu­

lar arrangements o

f Mnem

osyne. Aby W

arburg, Bildersam

m]ung zur G

eschichte von

Sternglaube und Sternkunde im H

amburger P

lanetarium, ed. U

we F

leckner, Robert

Galitz, C

laudia Naber, and H

erwart N

old

eke (Ham

burg: Dolling und G

alitz,

1993), pp. 224-27.

13. A

by Warburg, "T

he Art o

f Portraiture and the F

lorentine Bourgeoisie,"

in The

Renew

al if Pagan

Antiquity, trans. D

avid B

ritt (Los

Angeles:

Getty

Research In

stitute, 1999), pp. 185-221. See above, pp. 102-24.

14. V

an Huisstede, "M

nemosyne-A

tlas," p. 130.

15. See above, pp. 85ff.

16. A

by Warburg, "T

exte de cloture du seminaire sur Jacob B

urckhardt,"

trans. D. M

eur, Les Cahiers du M

usee national d'art moderne 68 (S

umm

er 1999), p.

21-2

3.

17. O

n M

arey's "dy

nam

og

raph

," see Philippe-A

lain Michaud, "E

tienn

e­

Jules Marey et la question des m

obiles," Cinem

atheque 10 (Autum

n 1996), pp.

104-16; and Georges D

idi-H

ub

erman

, [,Image survivante: H

istoire de ]'art et

temps d

jantomes selon A

by Warburg (P

aris: Minuit, 2000), pp. 117ff.

18. H

ugo von Hofm

annsthal, "Der D

ichter und diese Zeit" (T

he po

et and

the

esent tim

e), in B

riif des Lord

Chandos

(Frankfurt:

Insel,

2000), pp.

39 -20

2. T

he lecture was given in M

unich, Frankfurt, G

ottingen, Berlin, and

Vienna.

19. Ibid., p. 184.

20. Ibid., p. 196.

21. Ibid., p. 20 I.

NO

TE

S

22. F

orster, "Warburgs V

ersunkenheit," p. 190. T

he same phenom

enon is

found in the world o

f a comic o

f this period, Krazy K

at by George H

erriman,

whose action is situated in H

opiland, in the "en

chan

ted m

esa." See P

hilippe­

Alain M

ichaud, "Krazy K

atcina," Les Cahiers du M

usee national d'art moderne 66

(Sum

mer 1998), pp. 11-29.

23. See G

ombrich, "A

by Warburg und der E

volutionism

us des 19. Jahrhun­

derts," in Galitz and R

eimers, A

by M.

Warburg: P

ortrait eines Gelehrten, pp. 5

2-7

3,

and his still fundamental biography, A

by Warburg: A

n Intellectual Biography.

24. Jean

-Lu

c Godard, H

istoire(s} du cinema (P

aris: Gallim

ard/G

aum

on

t,

1999). This tex

t is the "paper" version of the video series of the same nam

e. The

quotation is no

t found in the final version of H

istoire(s}. As Jacques A

umont,

Am

nesies: Fictions du cinem

a d'apres jean-Luc G

odard (Paris: P

.O.L

., 1999), has

aptly said, "To m

ontage is to manipulate the im

ages ... in such a way as to draw

ou

t the virtual in them" (p. 18).

25. Jean

-Lu

c Godard, H

istoire(s} du cinema, vo

l. I, pp. 241-43.

26. Ibid., vol. 4, p. 225.

27. A

by Warburg, "T

he Theatrical C

ostumes for the Interm

edi of 1589," in

Renew

al if Pagan Antiquity, pp. 3

49

-40

3. See above pp. 147-70

28. W

arburg, "Theatrical C

ostumes for the Interm

edi o

f 1589," p. 369.

29. In particular see P

eter Burke, "H

istory and Anthropology in

1900," in

Cestelli G

uidi and Mann, P

hotographs at the Frontier, p. 26.

30. See below

, pp. 385 n.3. Mallery is also the author o

f an article published

in Popular Science M

onthly, Feb.-M

arch 1891, "Israelite and Indian," which sup­

ports Steinberg's theory o

n W

arburg's identification of the Jew

ish comm

unity of

Ham

burg with the H

opi Indians, bu

t which the A

merican editor o

f the lecture

on the snake ritual, curiousl y, does no

t cite. Mallery also w

rote a monum

ental

study of N

ative Am

erican petroglyphs.

31. N

arrative if an Expedition to the Source if St.

Peter's R

iver, Lake Win­

nepeek, Lake if the Woods,

etc.: Peiform

ed in the Year 1823, by Order if the H

on.

j. C. C

alhoun, Secretary if W

ar, U

nder the Com

mand if Stephen H

. Long, M

ajor

U.S. T

E., C

ompiled jrom

the Notes if M

ajor Long, Messrs.

Say, K

eating, and Cal­

houn by William

H. K

eating (Philadelphia, 1824).

AB

Y

WA

R B

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

32. U

ntil 1880, see the bibliograph

y in Garrick M

allery, Sign Languag

e

Am

ong North A

merican Indians,

Com

pared with T

hat Am

ong Other P

eoples and

Deaf-M

utes (1881; Th

e Hague: M

outon, 1972).

33. Ibid

., p. 271. Em

phasis added.

34. Ibid., p. 271. E

mphasis added.

35. W

arburg, Images from

the Region a

f the Pueblo Indians, p. 7; see above, p.

240. 36.

See above, p. 58.

37. M

allery, Sign Language Am

ong North A

merican Indians, pp. 2

89

-90

.

38. Ibid., pp. 290-91.

39.

Nicola S

avarese, "Th

eatre in the Lightroom

," cited in Eugenio B

arba

and Nico

la Savarese, A

Dictionary o

f Theatre Anthropology: The Secret A

rt of the

Peiform

er, trans. Richard F

owler (N

ew Y

ork: Routledge, 1991), p. 110.

40. J. W

. Goethe, "L

aocoon," in Artem

is-Gedankausgabe zu G

oethes 200. Geburt­

sta8 am 28. 1949, eds. E

rnst Beutler et al. (Z

urich, 1961-66), vol. 13, pp. 161-74.

41. A

ntonin Artaud, The Theatre and Its D

ouble, Collected W

orks, trans. Vic­

tor C

orti (London: C

alder and Boyars, 1974), vol. 4, p. 42.

42. Ibid., p. 59.

43. A

by Warb

urg

, "Gru

nd

legen

de B

ruchstiicke zu einer pragm

atischen

Ausdruckskunde" (G

round-laying fragments for a pragm

atic stud

y of expres­

sion). I am ind

ebted to

Serge T

rottein for calling my atten

tion

to this unpub­

lished work, w

hich will appear in G

erman in G

esamm

elte Schriften, ed. Bernhard

Buschendorf and C

laudia Naber (B

erlin: A

kademie, forthcom

ing).

AP

PE

ND

J T

wo

: C

RO

SS

ING

TH

E F

RO

NT

IER

S:

MN

EM

OS

YN

E B

ET

WE

EN

AR

T

HIS

TO

R

AN

D C

INE

MA

This t

t first appeared in Trafic 43 (Spring 2003).

Aby W

arburg, Der B

ilderatlas Mnem

osyne, eds. Martin W

arnke and Clau­

dia Brink (B

erlin: Akadem

ie, 2000).

2. A

by Warb

urg

, "Peasants at W

ork

in Bu

rgu

nd

ian T

apestries," in The

Renew

al of P

a8an Antiquity, trans. D

avid Britt (L

os Angeles: G

etty R

esearch

Institute, 1999), p. 319.

NO

TE

S

3.

Siegfried K

racauer, M

ass Ornam

ent, ed. Th

om

as Y. Levin (C

amb

ridg

e,

MA

: Harvard U

niversity Press, 1995).

4. S

iegfried Kracauer, Theory o

f Film

: The R

edemp

tion of P

hysical Reality

(Princeton, N

J: Princeton U

niversity Press, 1997).

5. SiesJried K

racauer -E

rwin P

anofsky Briifw

echsel, ed. Volker B

reidek

er

(Berlin: A

kademie, 1996), pp. 5

2-5

3.

6. E

rwin P

anofsky, "Style and M

edium in the M

otion Pictures," in Three

Essays on Style, ed. Irving Lavin (C

ambridge, M

A: M

IT P

ress, 1995), pp. 91-126.

7.

Kracauer, "P

hotography," in Mass O

rnament, p. 51.

8. K

racauer -P

anofsky Briifw

echsel, pp

. 54

-55

.

9. K

racauer, "Photography," p. 58

.

10. L

eon Battista A

lberti, On P

aintin8, trans. Joh

n S

pencer (New

Haven,

CT

: Yale U

niversity Press, 1956), p. 56.

11. K

racauer -P

anofsky Briifw

echsel, p. 23.

12. A1l8em

einen Ideen, p. 20 in Ernst G

om

brich

, Aby W

arbur8: An In

tellectual

Bio8raphy (L

ondon: Phaidon, 1986), p. 248.

13. S

ergei Eisenstein, Selected W

orks, vol. 1, trans. Richard T

aylor (London:

BFI, 1988), p

. 78.

14. B

ela Balazs, L

'Esprit du cinem

a, trans. J.-M. P

almier (P

aris: Payot, 1977),

pp. 164-65.

15. A

nn

ette Mich

elson, "T

he Wings o

f Hy

po

thesis: O

n the M

ontage and

the T

heory of Interval, " in M

onta8e and Modern Life,

1919-1942, ed. Matthew

Teitelbaum

(Cam

bridge, MA

: MIT

Press, 1992).

16. P

ietro M

on

tani in S

ergei Eisenstein, II M

onta88io (Venice: M

arsilio,

1992), p. 18, n

A.

17. S

ergei Eisenstein, "B

eyond the S

hot," in Selected Works, vol. 1, trans.

Richard T

aylor (London: B

FI, 1988), p. 138.

18. Ibid., p. 139.

19. L

ev Kuleshov, The A

rt of C

inema [1929] in K

uleshov on Films: W

ritin8s of

Lev Kuleshov (B

erkeley: University o

f California P

ress, 1974), p. 91.

20. "B

eyond the Shot," p. 145

.

21. A

by Warburg, Le R

ituel du serpent (Paris: M

acula, 2002).

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

22. S

ergei Eisenstein, "L

aocoon," in Selected Works, vol. 2, trans. M

ichael

Glenny (L

ondon: BF!, 198

8), p. 114,

23. Ibid., p. 168. A

ccording to Orp

hic m

ythology, the youn

g Dionysus w

as

pu

t to death

by Titan

s covered with gypsum

, who lured th

e child w

ith toys

Oointed dolls, rhom

bs, tops, knucklebones, a mirror), and took advantage o

f his

distraction to strike, dism

ember, and boil him

. His resu

rrection is associated

with the cycles o

f natu

re and the seasons. Marcel D

etienn

e, Dictionnaire des

mythol08ies, vol. I, D

ionysius (Paris: F

lamm

arion

, 1981), pp. 30

5-3

07

; G.-B

.

Duchenne de B

oulogne, Mecanism

es de Ia physionomie hum

aine (Paris, 1862), pI.

7: Expressive m

ovements o

f the eyebro

w and forehead.

24. T

he eucharistic version o

f the same story is found in B

oireau bonhomm

e

en pain d'epice (1913), a film from

Deed's F

rench period, in which the actor, pur­

sued by an enraged mob, hid

es in a baker's oven, from w

hich he emerges as a

gingerbread man w

hich two

little girls split before eating.

25. P

hilippe-Alain M

ichaud, "Krazy K

atcina," Cahiers du M

usee national

d'art moderne 6

4 (S

umm

er 1998), pp. 11-29.

26. K

urt W. F

orster, "Warburgs V

ersunkenheit," in Ekstatische N

ymphe.

trauernder Fluss8ott: P

ortriit eines Gelehrten, eds. R

obert G

alitz and Brita R

eitmers

(Ham

burg: Dolling and G

alitz, 1995), pp. 184-206.

27. B

enjamin B

uchloh, "Gerh

ard R

ichter's A

tlas: Th

e Anom

ic Archive,"

in B

enjamin H

.D. B

uchloh, Jean-Franc,:ois C

hevrier, Arm

in Zw

eite, Rainer

Rochlitz, P

hotography and Paintin8 in the W

ork if Gerhard R

ichter: Four Essays on

Atlas (B

arcelona: Museu d

'Art C

on

temp

oran

i de B

arcelona, 2000), pp. 11-30.

28. In a rew

ork

ing

of docum

entary and fictive images taken from

9.5 mm

copies (Pathe-B

aby), Kara80'z (1979-1981) attem

pts to

uncover the latent D

ar­

winian principles in th

e way in w

hich the cinema o

f the 1910's and 1920's treats

the adaptation of the figure to the rep

resentatio

nal space; D

u Pole d l'Equateur

(1986), made from

the archives o

f a 1910's Italian cameram

an, Luca Com

erio, out­

lines an analytic catalog of aggressive acts (hunting, predation, co

lonial oppres­

sion, and so on) which form

a sort o

f cinematographic equivalen

t of W

arburg's

pathos formula

. See SergiO

Toffetti (ed.), Yervant G

ianikian, An8ela Ricci-Lucchi

(Florence and T

urin: Hop

efulmon

ster /M

useo Nazionale del C

inema, 1992).

NO

TE

S

29. S

ee Michael W

itt, "Mo

ntag

e, My B

eautiful Care, o

r Histories o

f the

Cinem

atograph," The Cinem

a Alone, Essays on the W

ork ifJLG

(1985-2000), eds.

Michael T

empel and Jam

es S. William

s (Am

sterdam

: Am

sterdam

University

Press, 2000, pp. 2

29

-30

, n.62.

30. "L

'image," N

ord-Sud (March 13, 1918), in P

ierre Reverdy, N

ord-Sud,

Se!f-Difence et autres ecrits sur l'art et la poesie (1917-1926) (P

aris: Flam

marion,

1975), pp. 73

-75

.

Ap

PE

ND

IX T

HR

EE

: ME

MO

RIE

S O

F A

JOU

RN

EY

TH

RO

UG

H T

HE

PU

EB

LO

RE

GIO

N

1. L

udwig B

inswanger, n

o doubt. -

ED

.

2. T

his is probably a first list of the slides that W

arburg was planning to pro­

ject during his lecture. -E

D.

3. T

here is an imp

ortan

t and well-know

n wo

rk by M

allery on the sign lan­

guage of the Indian

s.

(Warburg is referrin

g to

Garrick M

allery [1831-1894), whose w

ork

on

the

Indians' sign language may have influenced him

in his study of P

athosformeln. See

Introduction to the Study if Si8n Lan8ua8e A

mon8 the N

orth Am

erican Indians, as

Illustratin8 the G

esture Speech if Mankind [W

ashington, DC

: Governm

ent Printing­

Office, 1880). M

allery also wrote "Israelite and Indian," published in P

opular Science

Month{y, F

eb.-March 1891, an article o

f which W

arburg was certainly aw

are. -E

D.)

4. S

ee the book by Krause, The P

ueblo Indians. (F

ritz Krause, D

ie Pueblo­

Indianer: Eine historisch-ethn08raphische Studie [H

alle, 1907). -E

D.)

5. M

ax Slevogt (1868-1932) w

as a late Germ

an Im

pressionist. Warburg's

interest in him can be related to his considerations on M

anet. See A

by Warburg,

"II 'Dejeu

ner su

r l'herb

e' di Manet: La fu

nzio

ne p

refigu

rante delle divinita

pagane elem

entari p

er l'evo

luzio

ne del sen

timen

to m

od

erno

della n

atura"

(1929), Aut aut 1

99

-20

0 (1984), pp

. 40

-45

. -E

D.

6. T

he L

eatherstocking Tales are a series o

f five novels by James F

enimore

Co

op

er (including The Last if the Mohicans) publish

ed between 1823 and 1841.

-E

D.

7. T

ito V

ignoli, Mito e scienza (M

ilan, 1879). For V

ignoli's influ

ence on

Warburg's thought, see E

rnst Gom

brich, Aby W

arburg: An Intellectua

l Biography

\

AB

Y

WA

RB

UR

G

AN

D

TH

E

IMA

GE

IN

M

OT

ION

(London: W

arburg Institute, 1970), pp. 68ff. As G

ombrich points o

ut (p. 71),

Warburg w

as fascinated by the role Vignoli assigned to

fear in the process o

f

forming representations. -

ED.

8. T

he Bafiote are inhabitants o

f the Senegal basin, living along the B

afing

River? -E

D.

9. "H

armonikal": a form

peculiar to W

arburg. -FR

ENC

H TR

AN

S.

10. In Sartor R

esartus by Thom

as Carlyle (1795-1881), o

ne o

f War b

urg

's

favorite books, Professor T

eufelsdrockh elaborates a philosophy of clothing. W

e

may recall W

arburg's pronounced taste for disguises, which is m

anifest in the

anecdote about the N

eapolitan beggar (see above, p. 359 n.9, no

te [1]), in the

photograph taken in New

Mexico show

ing the art historian wearing a kachina

mask (see above, fig. 62), and in the h

and

written

notes addresse to

his tailor

and his bo

ot m

aker, kept in London, in w

hich Warburg describes i

great detail

the kinds of clothes he w

anted to wear. T

hese notes clearly reso te w

ith the

analysis of th

e no

tebooks of G

irolamo S

erjacopi, the administrato

of the 1589

Intermed

i (see above, pp. 166

-67

). -ED

.

1 I. T

his passage recalls a proje t Warburg form

ulated in 1902: to recon­

struct, to th

e po

int o

f pro

du

cing

effec o

f presence, the

erson

alities of th

e

models appearing in Q

uattro

cento

painting, bas intersection o

f archives

and visual works in w

hich, he says, the voice and appearance of the deceased are

set down (see above, p. 96). -

ED.

12.

Ew

ald Herin

g, U

ber das

Geddchtnis als eine allaem

eine Funktion

der

oraanisierten Materie (1870; L

eipzig, 1921). In this text, Hering decribes heredity

and mem

ory as two

different forms o

f on

e function of identity. -

ED.

13. H

enry

R. V

oth, The Oraibi Pow

amu C

eremony (C

hicago, 1901). See above,

ch. 5, n. 21. -ED

.

14. R

ob

ert Vischer (1847-1

933) was o

ne o

f the first to propose a theory o

f

empathy, w

hich he developed in the thesis he d

efend

ed at th

e University o

f

Tiibingen in 1872: U

ber das optische Form

aifiihl (Stuttgart, 1873). -

ED.

15. In the m

anuscript, there is no

section marked "1

" preceding sections 2

and 3. -

ED.

16. H

ere begins a cosmogon

ic my

th involving T

i-yo, the "snake hero," a story

NO

TE

S

that W

arburg incl uded as an appendix to his notes and that w

as probably taken

from Jesse W

alter Few

kes, "Th

e Snake C

eremonials at W

alpi,"Journal '!jAm

erican

EthnoloB

J and ArchaeoloB

J (Boston and N

ew Y

ork, 1894), pp. 106-24. -E

D.

17. Pahos (or B

ahos) are prayer rods. -ED

.

18. A

pon-ya is an altar consisting of a m

ound of sand on w

hich is placed an

ear of sacred corn (the tiiponi o

r ti-po-ni). It is often associated with sand paint­

ing. See Arm

in W. G

eertz, Hopi Indian A

ltar Iconoaraphy (Leiden: B

rill, 1987),

p. 17. -ED

.

ApPE

ND

IX FO

UR

: ON

PLAN

NED

AM

ERICA

N V

ISIT (1927)

This is an unpublished tex

t, of five ty

pew

ritten pages, kept in W

arburg's per­

sonal archive (catalog nu

mb

er 93.8). We k

no

w th

at while he w

as working o

n

Mnem

osyne, he had beg

un

to plan an

oth

er trip to A

merica, a plan th

at Bin­

swanger convinced him

to abandon. See above, p. 246.

I. Julius Sachs (1

84

9-1934) studied in G

ermany, th

en w

ent to the U

nited

States, w

here he specialized in questions of education and published a series o

f

articles on ancient Greek literature. -

ED.

2. O

n F

ranz Boas, see above, pp. 179

-80

.

3. B

rother of Julius Sachs, Paul Sachs w

as the director of the F

ogg Museum

in Boston at the tim

e. Th

e Am

erican Warburgs (especially Felix, A

by's younger

bro

ther) provided sign

ificant financial sup

po

rt to the museum

. -ED

.

4.

Adolph G

oldschmidt (1863-1944), o

ne o

f the leading experts on medi­

eval art history in Germ

any during the first half of the tw

entieth century, gave a

lecture in 1921 at the W

arburg Library on the afterlife o

f ancient forms in the

art of th

e Middle A

ges: "Das N

achleben d

er antiken Fo

rmen

im M

ittelalter,"

Vortrdae der Bibliothek W

arbura 1 (1921-19

22), pp. 40

-50

. -E

D.

5. W

arbu

rg, "Italien

ische A

ntike im zeitalter R

emb

rand

t," still un

pu

b­

lished, dates from 1926. S

ee the bibliography in Ausaew

dhlte Schriften und Wiirdi­

aunaen, ed. Dieter W

uttke (Baden-B

aden: Valentin K

oerner, 1985), p. 592, no

.

97; and Ernst G

ombrich, A

by Warbura: A

n Intellectual B

ioaraphy (London: W

ar­

bu

rg Institute, 1970), p. 345. -

ED ..

Ind

ex

AC

CESSO

RIES, 127, 134, 153,

156, 165-66, 168. See also O

rnament.

Adler, C

yrus, 17

7,2

58

,30

1,3

66

n.12.

Adoration if the Shepherds, The, 136.

Advertising, 277-78.

Agam

ben, Giorgio, 379 n. 20.

Agostino di D

uccio, 222, 258, 259,

364 n.55. A

lberti, Leon B

attista, 153, 168,222,

258, 280. A

lbuquerque, 183, 297. See also New

M

exico. A

lessandri, Alessandro, 103

. A

lfiano, Epifanio d', 157.

Am

phitrite, 163, 164. A

nabella, 57, 58. See also D

ance,

serpentine. A

nachronism, 16-18, 37, 143.

Andreini, Isab

e l, 151, 152. A

ndromeda, 255.

Anim

al, 307, 311, 312, 318-22. A

nimals in M

otion, 98. A

nimism

, 36, 39

,47

,83

,93

-10

2,

311.

391 A

ntelope, 326-29. See also Dance

and Serp

en t ri tual. A

nthony, Edw

ard, 45, 46. A

nthropology, 13, 17

7-8

0,2

52

,25

4,

270. A

pollo, 15,71, 157, 159, 160, 162, 1

65

,21

3,2

21

,23

8. See also A

pol­

lonian.

Apollonian, 1

5,3

0,6

8,8

4, 147,210,

22

2,2

60

,27

0. See also D

ionysian. A

ppearance, 47

-54

,72

, 122. A

rchaeology, 15, 18

,38

,15

1,1

56

, 178; N

ative Am

erican, 177, 181-84.

Ariadn

e, 332. A

rion, 157, 163. A

ristotle, 71, 361 n.22.

Arizona, 3

4,3

6, 149, 170, 175, 180,

22

3,2

39

,25

2,2

54

, 316, 334, 373 n.65. See also B

lack Mesa.

Artaud, A

ntonin, 19, 273, 365 n.26. A

thena, 26

8-7

0.

Athens, 295, 304, 331. See also

Oraibi.

Aura, 280.