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274 NotesAuthor’s Preface: The Exorcist1. Erwin Panofsky, ‘‘Iconography and Iconology: An Introduction to the Study ofRenaissance Art’’ (1939), Meaning, 29.2. Erwin Panofsky, Early Netherlandish Painting (1953; Cambridge, Mass.: Harvard UniversityPress, 1971), 131–48, esp. 140–44 (on the concept of ‘‘disguised symbolism’’), and164–67 (on the Mérode Altarpiece and the interpretation of Meyer Schapiro). See alsoMichael Ann Holly, Panofsky and the Foundations of Art History (Ithaca: Cornell UniversityPress, 1984).3. Erwin Panofsky, Idea: Ein Beitrag zur Begriffsgeschichte der älteren Kunsttheorie (Berlin:Wissenschaftsverlag Volker Spiess, 1993), ii (preface to 1959 ed.).4. See Martin Buber, For the Sake of Heaven, trans. Ludwig Lewisohn (Philadelphia:Jewish Publication Society of America, 1946); Buber, Tales of the Hassidim: The Early Masters,trans. Olga Marx (New York: Schocken Books, c. 1947); Gershom Scholem, MajorTrends in Jewish Mysticism (New York: Schocken Books, c. 1995); Scholem, ‘‘Martin Buber’sInterpretation of Hassidism’’ (1961), in The Messianic Idea in Judaism and Other Essays onJewish Spirituality, trans. Michael A. Meyer et al. (New York: Schocken Books: [1971]),227–50; Meyer, ‘‘The Neutralization of the Messianic Element in Early Hassidism’’ (1970),in The Messianic Idea in Judaism, 176–202.5. Moses Cordovero, La douce Lumière: ‘‘Or Né’érab,’’ trans. Schmouel Ouziel (Lagrass,France; Verdier, c. 1997), 93 [English: Ira Robinson, Moses Cordovero’s Introduction to Kaballah:An Annotated Translation of His Or Ne’erav (New York: Yeshiva University Press, 1994)].Others forbade approaching the cabala before the age of forty.6. For a recent English translation of Ansky’s play, see The Dybbuk and the YiddishImagination: A Haunted Reader, ed. and trans. from Yiddish by Joachim Neugroschel (Syracuse:Syracuse University Press, 2000), 3–52.7. Georges Didi-Huberman, Fra Angelico: Dissemblance and Figuration, trans. Jane MarieTodd (1990; Chicago: University of Chicago Press, 1995).8. Georges Didi-Huberman, L’Image survivante: Histoire de l’art et temps des fantômesselon Aby Warburg (Paris: Minuit, 2002).9. Aby Warburg, ‘‘Sandro Botticellis Geburt der Venus and Frühling: Eine Untersuchungüber die Vorstellungen von der Antike in der Italienischen Frührenaissance’’ (1893), inAusgewählte Schriften und Würdigungen, ed. D. Wuttke (Baden-Baden: Valentin Koerner,1980), 11–64; [‘‘Sandro Botticelli’s Birth of Venus and Spring,’’ in The Renewal of Pagan Antiquity:Contributions to the Cultural History of the European Renaissance, trans. David Britt (LosAngeles: Getty Research Institute for the History of Art and the Humanities, 1999), 89–156and 405–31 (addenda)].10. Aby Warburg, ‘‘Bildniskunst und florentinisches Bürgertum: Domenico Ghirlandajoin Santa Trinita: Die Bildnisse des Lorenzo de’ Medici und Seiner Angehörigen’’(1902), in Ausgewählte Schriften, 65–102 [‘‘The Art of Portraiture and the Florentine Bourgeoisie,’’in The Renewal of Pagan Antiquity, 185–222 and 435–50 (addenda)].11. Aby Warburg, Italienische Kunst und internationale Astrologie im Palazzo Schifanoiazu Ferrara’’ (1912), in Ausgewählte Schriften, 173–98 [‘‘The Art of Portraiture and theFlorentine Bourgeoisie,’’ in The Renewal of Pagan Antiquity, 563–92 and 732–58]. See WilliamS. Heckscher, ‘‘The Genesis of Iconology’’ (1967), in Heckscher, Art and Literature: Studiesin Relationship, ed. Egon Verheyen (Durham: Duke University Press, 1985), 253–80 [reprintedin E. Panofsky, Three Essays on Style, ed. Irving Lavin (Cambridge, Mass.: MITPress, 1995), 167–95].