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Notes 2873. See Erwin Panofsky, Early Netherlandish Painting: Its Origins and Character (Cambridge,Mass.: Harvard University Press, 1953), 1:1–20.4. Carel van Mander, The Lives of The Illustrious Netherlandish and German Painters, fromthe First Edition of the ‘‘Schilder-boek’’ (1603–1604), 6 vols., bilingual ed. ed. and trans. HesselMiedema (Doornspijk: Davaco, 1994–99). Francisco Pacheco, Arte de la Pintura (1649), 2vols., ed. F. J. Sánchez Canton from the original manuscript completed January 24, 1638(Madrid: Instituto de Valencia de Don Juan, 1956). Joachim von Sandrart, L’Academia todescadella architectura, scultura e pittura, 2 vols. (Nuremberg: J. P. Miltenberger, 1675–79).5. See the following now-classic studies: Erwin Panofsky, Idea, trans. Joseph J. S. Peake(New York: Harper and Row, 1968), 45–111. Denis Mahon, Studies in Seicento Art and Theory(London: Warburg Institute, 1947). Paul Oskar Kristeller, ‘‘The Modern System of Arts: AStudy in the History of Aesthetics,’’ Journal of the History of Ideas 12 (1951): 496–27 (reprint:Kristeller, Renaissance Thought and the Arts: Collected Essays [Princeton: Princeton UniversityPress, 1965], 163–227). Rensselaer W. Lee, Ut Pictura Poesis: The Humanistic Theory ofPainting (New York: W. W. Norton, 1967).6. Charles Batteux, Les Beaux-Arts réduits à un même principe (Paris: Durand, 1747).7. Ibid., 78–102.8. Ibid., 156–99, 256–58: ‘‘ON PAINTING. This section will be very short, for, as wehave already discussed the principle of imitation of beautiful Nature with regard to Poetry,its application to Painting will almost be self-evident. The two arts are so consistent withone another that, to derive the discussion of one from that of the other, one need onlysubstitute Painting, Drawing, and Coloring for Poetry, Fable, and Versification’’ (256).9. Ibid. (my emphasis).10. Johann Joachim Winckelmann, Geschichte der Kunst des Altertums (1764). Note thatin the first Italian translation of this, its title was changed so as to make it consistent withVasarian norms: Storie delle arti del Disegno presso gli Antichi (Milan: San Ambrogio Maggiore,1779).11. See W. Waestzoldt, Deutsche Kunsthistoriker vom Sandrart bis Rumohr (Leipzig: Seemann,1921). Udo Kultermann, Geschichte des Kunstgeschichte: Der Weg einer Wissenschaft(Vienna and Düsseldorf: Econ, 1966).12. ‘‘Thus with this I bring my entire critical enterprise to an end.’’ CPJ: 58 (Preface to1st ed., 1790).13. ‘‘Taste is the faculty for judging an object or a kind of representation through asatisfaction or dissatisfaction without any interest.’’ CPJ: 96.14. Panofsky, Idea, tracks all of these manipulations.15. CPR: 395–97 (my emphasis).16. CPJ: 122 (§ 20) and 197 (§ 51).17. CPJ: 192 (§ 49). See also § 57, Remark I: ‘‘Now I believe that one could call theaesthetic idea an inexponable representation of the imagination, the idea of reason, however,an indemonstrable concept of reason’’ (218).18. CPJ: 196 (§ 49, end).19. CPJ: 79–80 (Intro., viii).20. CPJ: 187 (§ 47), 195–96 (§ 49, end), 219 (§ 59, Remark I, end).21. K. F. von Rumohr, Italianische Forschungen, ed. Julius von Schlosser (1827–31; Frankfurt:Frankfurter Verlags-Unstalt U.G., 1920). The first part treats general issues (the divisionbetween north and south, etc.); the second discusses painting from Duccio to the‘‘new art’’; the third is wholly devoted to Raphael.22. Warburg’s mind was so idiosyncratic (he drew his philosophical inspiration, forexample, more from Nietzsche than from Kant) that it is difficult to situate him within