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Notes 29958. Panofsky, ‘‘Das Problem des Stils in der Bildenden Kunst’’ (1915), in Aufsätze, 25–26.59. In March 1915, Freud began work on a collection, provisionally titled Zur Vorbereitungeiner Metapsychologie (preliminary to a metapsychology), which he completed thefollowing August. It consisted of twelve articles, five of which were finally retained andpublished under the simple title Metapsychologie (Papers on Metaspychology). In one of them,entitled ‘‘A Metapsychological Supplement to the Theory of Dreams,’’ Freud presentedthe notion of metapsychology as an attempt—essentially ‘‘uncertain and tentative’’—‘‘toclarify and carry deeper the theoretical assumptions on which a psycho-analytic systemcould be founded.’’ SE 14: 222 n. 1 and 234 n. 2.60. ‘‘I am going to ask you seriously, by the way, whether I may use the namemetapsychology for my psychology that leads behind consciousness.’’ Freud, letter to W.Fliess dated March 10, 1898, Complete Letters . . . , 301–2.61. Although E. Kraepelin is cited on its first page. See R. Kilbansky, E. Panofsky, andF. Saxl, Saturn and Melancholy (London: Nelson, 1964), 1.62. Significantly, this remark of Freud’s concludes a passage on the roots of superstition(Aberglaube): ‘‘I assume that this conscious ignorance and unconscious knowledge(bewusste Unkenntnis und unbewusste Kenntnis) of the motivation of accidental psychicalevents is one of the psychical roots of superstition. Because the superstitious person knowsnothing of the motivation of his own chance actions, and because the fact of this motivationpresses for a place in his field of recognition, he is forced to allocate it, by displacementto the external world. . . . I believe that a large part of the mythological view of theworld, which extends a long way into the most modern religions, is nothing but psychologyprojected into the external world. The obscure recognition (die dunkle Erkenntnis) (the endopsychicperception, as it were) of psychical factors and relations in the unconscious ismirrored—it is difficult to express it in other terms, and here the analogy with paranoiamust come to our aid—in the construction of a supernatural reality (übersinnlichen Realität),which is destined to be changed back once more by science into the psychology of theunconscious. One could venture to explain (aufzulösen) in this way the myths of paradiseand the fall of man, of God, of good and evil, of immortality, and so on, and to transformmetaphysics into metapsychology (die Metaphysik in Metapsychologie umzusetzen).’’ Freud, ThePsychopathology of Everyday Life (1904), in SE 6: 258–59.63. Panofsky, ‘‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken derBildenden Kunst’’ (1932), Aufsätze, 93.64. Ibid., 94.65. Ibid., 94.66. Ibid., 92. See above, pages 101–2.67. Panofsky, ‘‘Introductory,’’ Studies in Iconology (Oxford: Oxford University Press,1939), 5; Panofsky, ‘‘The History of Art as a Humanistic Discipline,’’ in Meaning, 14, itisrevealed that the ‘‘witty American’’ is none other than C. S. Peirce.68. P. Bourdieu in the ‘‘Postface’’ to his French translation of Panofsky’s Gothic Architectureand Scholasticism, published as Architecture gothique et pensée scolastique (Paris: Minuit,1967), 142–48, 151–52, 162.69. On Panofsky’s expression ‘‘artistic consciousness’’ (central to his work), see S.Ferretti, Il demone della memoria: Simbolo e tempo storico in Warburg, Cassirer, Panofsky (CasaleMonferrato: Marietti, 1984), 177–206. See also, above, pages 94 and 114–15.70. Bourdieu, ‘‘Postface’’ to Panofsky, Architecture gothique . . . , 136–37.71. Ibid., 152 (my emphasis).72. PSF 1:76–77, 91–93, 98–105, etc.73. Ibid., 77 and 105.