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LIST OF ILLUSTRATIONS1. Fra Angelico, The Annunciation, c. 1440–41. Fresco. Florence,Monastery of San Marco, cell 3. 122. Giorgio Vasari, Frontispiece of the first edition of The Lives of theBest Italian Architects, Painters, and Sculptors . . . (Florence: L.Torrentino, 1550). Woodcut. 573. Giorgio Vasari, final page of the first edition of The Lives of the BestItalian Architects, Painters, and Sculptors . . . (Florence: L. Torrentino,1550). Woodcut. 644. Giorgio Vasari, frontispiece and final page of the second edition ofThe Lives of the Best Italian Architects, Painters, and Sculptors . . .(Florence: Giunti, 1568). Woodcut. 655. Albrecht Dürer, Man of Sorrows, 1509–10, frontispiece of the SmallPassion, 1511. Woodcut. 1766. Anonymous (Italian), The Holy Face, 1621–23. Copy on canvas ofVeronica’s veil, commissioned by Pope Gregory XV for the Duchessof Sforza. Rome, Gesù. 1937. Ugo da Carpi, Veronica Between Saints Peter and Paul, c. 1524–27.Tempera and charcoal on canvas. Rome, Vatican, Basilica of SaintPeter. 1968. Parmigianino, Veronica Between Saints Peter and Paul, c. 1524–27.Drawing on paper. Florence, Uffizi. 1979. Fra Angelico, lower panel of Madonna of the Shadows (detail), c.1440–50. Fresco. Florence, Monastery of San Marco, north corridor.H: 1.50 m. 20210. Anonymous (Czech), The Madonna of Vyšší Brod (verso), c. 1420.Tempera on panel. Prague, National Gallery. 20411. Anonymous (German), Crucifixion with Saint Bernard and a Monk,1300–1350. Cologne, Snütgen Museum. 20612. Anonymous (Florentine), Bust of a Woman, 15th century. Bronze.Florence, Museo Nazionale del Bargello. Photo: Giraudon. 22613. Pieter Brueghel, Landscape with the Fall of Icarus (detail), c. 1555. Oilon canvas. Brussels, Musées Royaux des Beaux-Arts. 239
xiiList of Illustrations14. Jan Vermeer, View of Delft (detail), c. 1658–60. Oil on canvas. TheHague, Mauritshuis. 24715. Jan Vermeer, The Lacemaker, c. 1665. Oil on canvas. Paris,Louvre. 24916. Jan Vermeer, The Lacemaker (detail), c. 1665. Oil on canvas. Paris,Louvre. 25217. Jan Vermeer, The Lacemaker (pan), c. 1665. Oil on canvas. Paris,Louvre. 25318. Jan Vermeer, Girl with a Red Hat, c. 1665. Oil on canvas.Washington, D.C., The National Gallery of Art. 258
Page 3 and 4: CONFRONTINGQUESTIONING THE ENDS OF
Page 5 and 6: LIBRARY OF CONGRESSCATALOGING-IN-PU
Page 8 and 9: CONTENTSList of Illustrations xiTra
Page 10: works, plays, inverts, and dissembl
Page 16 and 17: PREFACE TO THE ENGLISH EDITION:THE
Page 18 and 19: The Exorcistxviipositive or ‘‘o
Page 20 and 21: The Exorcistxixwhich takes up the e
Page 22 and 23: The ExorcistxxiWarburg was a man wh
Page 24 and 25: The Exorcistxxiiihand, the aestheti
Page 26 and 27: The Exorcistxxvpresenting ideas in
Page 28 and 29: Question PosedOften, when we pose o
Page 30 and 31: Question Posed 3Books on the histor
Page 32 and 33: Question Posed 5rency? Panofsky tur
Page 34 and 35: Question Posed 7It should be clear
Page 36: Question Posed 9eration of the book
Page 39 and 40: Image not availableFra Angelico, Th
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Page 45 and 46: 18 Confronting Imagesand paradoxica
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Page 49 and 50: 22 Confronting ImagesThe men of the
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Page 53 and 54: 26 Confronting Imagesdelivered. The
Page 55 and 56: 28 Confronting Imageseven of the vi
Page 57 and 58: 30 Confronting Imagesintegrate them
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34 Confronting Imagestwo texts reve
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36 Confronting Imagesporary categor
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38 Confronting Images‘‘plants
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40 Confronting ImagesGoya, Manet, a
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42 Confronting Imagesically from th
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44 Confronting Imagesauto-teleology
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46 Confronting Imagesway perfect [e
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48 Confronting Imagesbeing-there [d
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50 Confronting Imagesart historians
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52 Confronting Imageshe remains on
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54 Confronting Imagesafter its dawn
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56 Confronting Imagesing its reader
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58 Confronting Images‘‘Most hum
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60 Confronting Imagescounting le op
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62 Confronting Imagesagain into the
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Image not availableFIG 3. Giorgio V
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66 Confronting Imagesthat our ambig
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68 Confronting Images‘‘prevent
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70 Confronting Imagesimagines here
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72 Confronting Imagesknowledge, a c
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74 Confronting Imagesprincipalmente
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76 Confronting ImagesIdea, f. Perfe
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78 Confronting Imagesarti del diseg
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80 Confronting Imagesing compromise
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82 Confronting Imageswake of the Li
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84 Confronting Imagesof all cogniti
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86 Confronting Imagesby a new angel
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88 Confronting Imagesplicit content
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90 Confronting ImagesWinckelmann’
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92 Confronting Imagesin a single sm
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94 Confronting ImagesKantian tone,
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96 Confronting Imagesated, the most
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98 Confronting Imagesoverstepped th
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100 Confronting Imagessentational e
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102 Confronting Imagesabove the exp
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104 Confronting Imagesorigin, certa
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106 Confronting Imagesthroughout hi
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108 Confronting Imagestions, these
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110 Confronting Imagesulty of repre
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112 Confronting Imagescome, in the
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114 Confronting Imagesrial’’ of
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116 Confronting Imagessatanocracy a
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118 Confronting Imagesately closing
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120 Confronting Imagesance that it
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122 Confronting ImagesSo it is inde
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124 Confronting ImagesSo a second g
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126 Confronting Imagessay, correspo
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128 Confronting ImagesThe Philosoph
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130 Confronting ImagesThat the symb
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132 Confronting Imagesdefinition of
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134 Confronting Imagesdown to nothi
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136 Confronting Imagesimages by mak
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138 Confronting Imagesrational disc
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140 Confronting Imagesmented—a to
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142 Confronting Imagesour private b
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144 Confronting Imagesof replacing
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146 Confronting Imagesvisual model
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148 Confronting Imagesrelations wil
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150 Confronting Imagesis in questio
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152 Confronting Imagesment (Verschi
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154 Confronting Imagesthe rend open
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156 Confronting Imagesand amenable
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158 Confronting Imagessis or as tot
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160 Confronting Imagesthem. 47 When
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162 Confronting Imagesthemselves fr
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164 Confronting Imagesphenomena und
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166 Confronting Imagesclosure [unge
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168 Confronting Imageslifting his h
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170 Confronting Imagesin their beli
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172 Confronting Imagesof its own sy
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174 Confronting Imagessingularly co
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Image not availableAlbrecht Dürer,
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178 Confronting Imagesthe ‘‘asc
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180 Confronting Imagesits part, con
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182 Confronting Imagesasked himself
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184 Confronting Imagesto-be reposed
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186 Confronting Imagession, but the
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188 Confronting Imageshand were ima
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190 Confronting Imageschiasma and o
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192 Confronting Imagessessed by it
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194 Confronting Imagesthe individua
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196 Confronting ImagesImage not ava
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198 Confronting Imagesunderscores i
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200 Confronting Imageseverything, h
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Image not availableFIG 9. Fra Angel
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Image not availableFIG 10 Anonymous
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Image not availableFIG 11 Anonymous
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208 Confronting Imagesrepresentatio
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210 Confronting Imageseverything, I
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212 Confronting Imagesoffensive. 14
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214 Confronting Imagesself ). 152 .
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216 Confronting ImagesSo painting e
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218 Confronting Imagesbelieve it—
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220 Confronting Imagesitself precis
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222 Confronting Imagesaffirm life.
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224 Confronting Imagesthe ‘‘gre
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226 Confronting ImagesImage not ava
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228 Confronting ImagesNow this heav
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230 Appendix: Detail and PanIn comm
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232 Appendix: Detail and Panits thi
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234 Appendix: Detail and Pana rent
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236 Appendix: Detail and Paning giv
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238 Appendix: Detail and Pancovered
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240 Appendix: Detail and Panthe dis
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242 Appendix: Detail and Panto func
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244 Appendix: Detail and Pantulates
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246 Appendix: Detail and Panreadily
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248 Appendix: Detail and PanFor som
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250 Appendix: Detail and PanIt is T
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252 Appendix: Detail and PanImage n
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254 Appendix: Detail and Panstupefy
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256 Appendix: Detail and PanIt is,
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Image not availableJan Vermeer, Gir
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260 Appendix: Detail and Panitself
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262 Appendix: Detail and Panpaintin
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264 Appendix: Detail and Panto prop
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266 Appendix: Detail and Panstance
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268 Appendix: Detail and Pantension
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270 Appendix: Detail and Panthe ima
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NOTESAbbreviations of Frequently Ci
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Notes 27512. Aby Warburg, Der Bilde
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Notes 277phie chrétienne d’Occid
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Notes 27929. See the remarkable art
Page 308 and 309:
Notes 281of Art as a Humanistic Dis
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Notes 28328. In his frescoes in the
Page 312 and 313:
Notes 28552. Erwin Panofsky, Idea:
Page 314 and 315:
Notes 2873. See Erwin Panofsky, Ear
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Notes 289ControllingObject of Act o
Page 318 and 319:
Notes 291be grasped by an interpret
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Notes 293logical interpretation’
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Notes 295127. Ibid., 76-77.128. Ibi
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Notes 29716. Ibid., 312 [translatio
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Notes 29958. Panofsky, ‘‘Das Pr
Page 328 and 329:
Notes 301symptom and are reconciled
Page 330 and 331:
Notes 303disciples set our for Gali
Page 332 and 333:
Notes 305manuscript of which dates
Page 334 and 335:
Notes 307Pagan Antiquity: Contribut
Page 336 and 337:
Notes 30931. Ibid., 156-58.32. Paul
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