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Notes 293logical interpretation’’ does not figure in the famous synoptical table until the 1955 revisionof the essay (ibid., 40). In the princeps version of 1939 (republished without alteration in allsubsequent editions of Studies in Iconology), the language used in both the text and thetable is ‘‘iconography in a deeper sense’’ and ‘‘iconographical synthesis’’ (Studies in Iconology,8–15).90. ‘‘Iconography and Iconology,’’ Meaning: 32, bracketed interpellation. Panofsky ‘‘acknowledges’’his debt to Cesare Ripa and Aby Warburg in his preface to the 1967 Frenchedition, 3–4.91. Cesare Ripa, Iconologia overo Descrittione dell’Imagini unversali cavate dall’Antichità eda altri luoghi . . . per rappresentare le virtù, vitii, affetti, e passioni humane (Padua: P. P. Tozzi,1611). This is the second, illustrated edition (the first edition appeared in 1593), which hasrecently been republished (New York: Garland, 1976). For the Italian text of the proemioaccompanied by the original illustrations as well as by a (collaborative) French translation,all presented by Hubert Damisch, see Critique, nos. 315–16 (August–September 1973):804–19.92. Ibid. (in the collective translation overseen by Damisch, 805).93. Panofsky, ‘‘Préface à l’édition française,’’ in Essais d’iconologie, 3–4.94. Ripa, Iconologia (French translation, 805); a few lines down, the passage continues:‘‘Putting aside the images used by orators, which Aristotle discusses in the third book ofhis Rhetoric, I will speak only of those specific to painters, which is to say those that, bymeans of colors or some other visible thing, can represent things that are different fromthe latter, but are consistent with the former. Because, just as the second often persuadesby means of the eye [persuade molte volte per mezzo dell’occhio], so the first, by means ofwords, stirs the will [per mezzo delle parole muove la voluntà].’’95. Ibid. (French translation, 811). This aspect of iconology has been discussed byHubert Damisch, Théorie du nuage: Pour une histoire de la peinture (Paris: Le Seuil, 1972),79–90. [A Theory of /Cloud/: Toward a History of Painting, trans. Janet Lloyd (Stanford:Stanford University Press, 2002), 51–61].96. Ripa’s language: ‘‘Vederi i nomi.’’ See the discussion of this phrase by Damisch,Théorie du nuage, 85. The ‘‘name that confers being’’ is discussed at length by MichelFoucault, Les Mots et les choses: Une Archéologie des sciences humaines (Paris: Gallimard, 1966),‘‘Parler,’’ 92–136 [The Order of Things, trans. uncredited (New York: Random House, 1970),‘‘Speaking,’’ 78–124]. Note, however, that this problematic does not exhaust the rich arrayof meanings encompassed by the phrase icones symbolicae as understood by Renaissancehumanism. On this subject, see E. H. Gombrich, ‘‘Icones Symbolicae: Philosophies of Symbolismand Their Bearing on Art,’’ in Symbolic Images: Studies in the Art of the Renaissance(Chicago: University of Chicago Press, 1985), 2:123–98.97. Questions raised by Robert Klein, ‘‘Thoughts on the Foundations of Iconography,’’in Form and Meaning, 143–60. For an opposing point of view, see Bernard Teyssèdre,‘‘Iconologie: Réflexions sur un concept d’Erwin Panofsky,’’ Revue Philosophique 154 (1964):321–40.98. Panofsky, Studies in Iconology, 14.99. Ibid., 5, 7, 14.100. Ibid., 14, 8.101. Ibid, 16.102. One need only read Panofsky’s celebrated interpretation of Titian’s Allegory ofPrudence (and most later interpretations of the same picture by others) to understand thathe was (they were) looking not at the painting itself—with its dark, evenly colored focalmass—but rather at a black and white photograph of it, which makes it resemble a print