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288 Notesthe mainstream of contemporary art history. The few texts by this man, ultimately arather solitary figure, have been collected and edited by Gertrud Bing: Aby Warburg,Gesammelte Schriften, 2 vols. (Leipzig and Berlin: Teubner, 1932). On Warburg, see especiallythe article by Edgar Wind, ‘‘Warburg’s Concept of Kulturwissenschaft and Its Meaningfor Aesthetics’’ (1930–31), in The Eloquence of Symbols: Studies in Humanist Art (Oxford:Clarendon Press, 1983), 21–35. See also E. H. Gombrich, Aby Warburg: An Intellectual Biography(London: Warburg Institute, 1970). Note that, when Warburg died, it was Panofskywho was asked to write his obituary: ‘‘Aby Warburg,’’ Hamburger Fremdenblatt, October28, 1929, reprinted in Repertorium für Kunstwissenschaft 51 (1930): 1–4.23. For a bibliography of his publications, see the Festschrift edited by Millard Meiss,De Artibus Opuscula, xl: Essays in Honor of Erwin Panofsky (New York: New York UniversityPress, 1961), xiii–xxi, as well as the appendix to the French edition of Panofsky’sGothic Architecture and Scholasticism, trans. Pierre Bourdieu as Architecture gothique et penséescolastique (Paris: Minuit, 1967). On Panofsky, see also S. Ferretti, Il demone della memoria:Simbolo e tempo storico in Warburg, Cassirer, Panofsky (Casale Monferrato: Marietti, 1984).Pour un temps: Erwin Panofsky (Paris: Centre Georges Pompidou/Pandora, 1983).24. The unsettling quality of this theoretical exigency retained its force forty yearslater, when French-language editions of Studies in Iconology (trans. Bernard Teyssèdre) andGothic Architecture and Scholasticism (trans. Pierre Bourdieu) appeared. André Chastel (LeMonde, February 28, 1968), for example, deplored their excessively ‘‘philosophical’’ tenorand wrote that ‘‘the rich and sometimes confused German thought’’ of Panofsky’s earlywork was later ‘‘sifted by ‘Anglo-Saxon’ naïveté.’’ Another sign of the distrust of Panofsky’sGerman phase is the relative inaccessibility of his early writings, which were notrepublished until four years before his death: See Aufsätze (first published in 1964). I haveused the 1974 revised edition as the basis for my discussion of Panofsky’s German textsdating 1915–32.25. Erwin Panofsky, ‘‘The History of Art as a Humanistic Discipline,’’ Meaning, 17.Pierre Bourdieu has compared this remark to one made a few decades earlier by Ferdinandde Saussure, who wrote that he wanted to ‘‘show linguists what they were doing’’ (seeBourdieu’s Afterword to his French translation of Panofsky, Gothic Architecture and Scholasticism,167).26. Erwin Panofsky, ‘‘Zum Problem der historischen Zeit,’’ Aufsätze (1931), 77–83.27. Erwin Panofsky, ‘‘Das Problem des Stils in der Bildenden Kunst,’’ Aufsätze (1915),20.28. Ibid., 22.29. Erwin Panofsky, ‘‘Der Begriff des Kunstwollens,’’ Aufsätze (1920), 29–35 and 41–42n. 9 [‘‘The Concept of Artistic Volition,’’ trans. K. J. Northcott and J. Snyder, CriticalInquiry 8 (fall 1981): 19–26 [translation altered] and 24–25 n. 8]. The principal target of thisattack is Theodore Lipps.30. Erwin Panofsky, ‘‘Zum Problem der Beschreibung und Inhaltsdeutung von Werkender Bildenden Kunst,’’ Logos 21 (1932): 103–19. Reprinted in Aufsätze, 85–97. Subsequentcitations refer to this reprint.31. Erwin Panofsky, ‘‘Introductory,’’ Studies in Iconology: Humanistic Themes in the Artof the Renaissance (Oxford: Oxford University Press, 1939), 3–31.32. Ibid., 3.33. Ibid., 4.34. Ibid., 3.35. Ibid., 3–17. This discussion culminates in a famous ‘‘synoptical table’’ that purportsto summarize the various ends and means of art history (14–15), and that is worth recallinghere: