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292 Notes71. This regarding a famous frame drawn by Vasari around a medieval drawing, formerlyattributed to Cimabue (and now given to Spinello Aretino), in his own collection:‘‘Vasari’s frame marks the beginning of a strictly art-historical approach, which . . . proceeds,to borrow Kant’s phrase, in ‘disinterested’ manner.’’ Panofsky, ‘‘The First Page ofGiorgio Vasari’s ‘Libro’: A Study on the Gothic Style in the Judgment of the Italian Renaissance,’’in Meaning, 224.72. Panofsky, ‘‘The History of Art as a Humanistic Discipline,’’ in Meaning, 1.73. Ibid., 2.74. Ibid., 4–5 (emphasis in original).75. Ibid., 5.76. See Panofsky, ‘‘Artist, Scientist, Genius: Notes on the ‘Renaissance-Dämmerung,’’’in The Renaissance: A Symposium (New York: Metropolitan Museum of Art, 1953), 77–93.See also, among many other publications of this genre, D. Koenigsberger, Renaissance Manand Creative Thinking: A History of Concepts of Harmony, 1400–1700 (Atlantic Highlands, N.J.:Humanities Press, 1979).77. Such is the title given the article by its French translators (‘‘L’Histoire de l’art estune discipline humaniste,’’ in Essais d’iconologie: Thèmes humanistes dans l’art de la Renaissance,trans. C. Herbette and Bernard Teyssèdre [Paris: Gallimard, 1967]), but the originalEnglish readily lends itself to wordplay along these lines: ‘‘The History of art as ...theHistory of Art Is . . . a Humanistic Discipline.’’78. Panofsky, ‘‘The History of Art as a Humanistic Discipline,’’ in Meaning: 14 (myemphasis).79. Ibid., 14.80. Ibid.81. Ibid., 19. Note also this earlier passage (16): ‘‘Not only does the re-creative synthesisserve as a basis for the archaeological investigation, the archaeological investigation inturn serves as a basis for the re-creative process; both mutually qualify and rectify oneanother.’’82. Ibid., 17 (emphasis in original).83. Ibid., 25.84. If only in so-called infamantes (defamatory) images of the Middle Ages and theRenaissance. See G. Ortalli, La pittura infamante nei secoli, xiii–xvi (Rome: Jouvence, 1979).Samuel Y. Edgerton, Pictures and Punishment: Art and Criminal Prosecution During the FlorentineRenaissance (Ithaca: Cornell University Press, 1985).85. For a related discussion of the ‘‘Albertian’’ bias that has privileged historia in ourresponses to painting, see Svetlana Alpers, The Art of Describing: Dutch Art in the SeventeenthCentury (Chicago: University of Chicago Press, 1983), xix–xxv.86. See Jurgis Baltrušaitis, Anamorphoses ou magie artificielle des effets merveilleux (Paris:Perrin, 1969), 157. Anamorphoses, exh. cat. (Paris, Musée des Arts Décoratifs, 1976), fig. 31.87. This despite Warburg’s having been responsible for reintroducing the term intothe methodological vocabulary of the history of art. See Aby Warburg, ‘‘Italian Art andInternational Astrology in the Palazzo Schifanoia in Ferrara’’ (1912), in The Renewal ofPagan Antiquity: Contributions to the Cultural History of the European Renaissance (1932), ed.Gertrud Bing with F. Rougemont, trans. David Britt (Los Angeles: Getty Center for TheHistory of Art and the Humanities, 1999), 563–92. S. Trottein, ‘‘La Naissance de l’iconologie,’’in Symboles de la Renaissance (Paris: P.E.N.S., 1982), 2:53–57.88. Panofsky, ‘‘Introductory,’’ Studies in Iconology, 8 and 14.89. Panofsky, ‘‘Iconography and Iconology: An Introduction to the Study of RenaissanceArt,’’ in Meaning: 31–32, bracketed interpellation. Note also that the phrase ‘‘icono-