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Notes 289ControllingObject of Act of Equipment for Principle ofInterpretation Interpretation Interpretation InterpretationI—Primary or natural Pre-iconographical de- Practical experience History of style (insubjectmatter—(A) scription (and (familiarity with ob- sight into the manfactual,(B) expres- pseudo-formal anal- jects and events). ner in which, undersional—constituting ysis). varying historicalthe world of artisticconditions, objectsmotifs.and events were expressedby forms).II—Secondary or con- Iconographical analy- Knowledge of literary History of types (inventionalsubject sis in the narrower sources (familiarity sight into the manmatter,constituting sense of the word. with specific themes ner in which, underthe world of images, and concepts). varying historicalstories, and allegories.conditions, specificthemes or conceptswere expressed byobjects and events).III—Intrinsic mean- Iconographical inter- Synthetic intuition ’’History of culturaling or content, cons- pretation in a deeper (familiarity with the symptoms or ‘‘symtitutingthe world of sense (Iconographical essential tendencies of bols’’ in general (in-‘‘symbolical’’ values. synthesis). the human mind), sight into theconditioned by per- manner in which,sonal psychology under varying hisand‘‘Weltan- torical conditions,schauung.essential tendencies ofthe human mindwere expressed byspecific themes andconcepts).36. Panofsky, ‘‘Zum Problem der Beschreibung . . . ,’’ in Aufsätze, 93.37. Ibid., 86.38. Ibid., 87.39. Ibid., 87–88.40. Ibid., 86.41. Ibid., 89.42. Ibid., 92. The quoted passage is from Martin Heidegger, Kant and the Problem ofMetaphysics (1929), trans. Richard Taft (from the slightly revised text of 1973) (1929;Bloomington: Indiana University Press, 1990), 140–41 (translation altered). In the Frenchtranslation by A. de Waelhens and W. Biemel (Kant et le problème de la métaphysique [Paris:Gallimard, 1953; new ed. 1981]), it is rendered as: ‘‘Il est vrai que, pour saisir au-delà desmots ce que ces mots veulent dire, une interprétation doit fatalement user de violence’’(256).43. There are a few rare exceptions. See the Panofsky bibliographies cited in note 23above. On the transition from Germany to the United States, see Panofsky, ‘‘The Historyof Art,’’ in The Cultural Migration: The European Scholar in America, ed. W. R. Crawford