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300 Notes74. This is the title of a pertinent—and anonymous—review of Cassirer’s The Philosophyof Symbolic Forms published in Scilicet 6–7 (1976): 295–325. I also cite, in a more humorousvein, a remark by Lacan: ‘‘The Kantian brush itself needs its alkali.’’ Écrits, 43.75. ‘‘It’s as though chronological order were somehow deducible from logical order,history being merely the place where the system’s tendency to self-completion reachedfulfillment.’’ Bourdieu, ‘‘Postface’’ to Panofsky, Architecture gothique . . . , 164.76. Panofsky, The Life and Art of Albrecht Dürer (Princeton: Princeton University Press,1971), 162, and, more generally, 156–62. The same analysis, grosso modo, figures in the greatbook by R. Klibansky, F. Saxl, and E. Panofsky, Saturn and Melancholy, 284–373.77. Such as the plants in the wreath, the book, the compass, the ‘‘dejected’’ dog, thebat, Melancholia’s ‘‘swarthy’’ complexion (facies nigra), her head-on-hand posture, herpurse and bunch of keys. . . . See Panofsky, The Life and Art of Albrecht Dürer, 156–64.78. Ibid., 171.79. Erwin Panofsky, ‘‘Artist, Scientist, Genius: Notes on the ‘Renaissance-Dämmerung,’’’in The Renaissance: A Symposium (New York: Metropolitan Museum of Art, 1953),77–93, where Dürer is invoked not only generally but in particular through his engravingMelancholia. Remember that Panofsky’s Dürer monograph ends with a chapter entitled‘‘Dürer as a Theorist of Art’’ (The Life and Art of Albrecht Dürer, 242–84).80. See, among other texts, Lacan, ‘‘La Direction de la cure et les principes de sonpouvoir’’ (1958), Écrits, 585–645 [Fink, 215–70].81. These brief remarks summarize a seminar on Dürer’s self-portraits held in 1988–89at the École des Hautes Études en Sciences Sociales, soon to be published.82. See, for instance, the admirable wood sculpture in Braunschweig Cathedral. Theiconography of the melancholy Christ recurs, for example, in works from the same periodby Jan Gossaert (known as Mabuse), Nicolas Hogenberg, and Hans Baldung Grien.83. See Panofsky, The Life and Art of Albrecht Dürer, 43, xxx, 241. Also pertinent to thisdiscussion is another ‘‘classic’’ by Panofsky devoted precisely to this iconography: ‘‘ImagoPietatis: Ein Beitrag zur Typengeschichte des Schmerzensmannes und der Maria Mediatrix,’’in Festschrift für Max J. Friedländer zum 60. Geburtstag (Leipzig: Seemann, 1927), 261–308.84. Panofsky, The Life and Art of Albrecht Dürer, fig. 103. Panofsky, Saturn and Melancholy,figs. 98, 105–6, 108, 145. Note that in the latter book, Panofsky provides two clues tothis connection, the first very much in passing (287) and the other pointedly—Panofskyoften withheld the essential core or ‘‘vanishing point’’ of his interpretations until theclosing lines of his chapters—before leaving the subject (372–73).85. Panofsky, The Life and Art of Albrecht Dürer, 156.86. See J. E. von Borries, Albrecht Dürer: Christus als Schmerzensmann (Karlsruhe: Bildhefteder Staatlichen Kunsthalle, 1972).87. See W. L. Strauss, Albrecht Dürer: Woodcuts and Wood Blocks (New York: Abaris,1980), 445–48 (with bibliography).88. Écrits, 280 [Fink, 68].89. Écrits, 269 [Fink, 58].90. Remember that ‘‘without the idea of One Art progressing through the centuriesthere would be no history of art’’—an idea glorified in the Renaissance. E. H. Gombrich,‘‘The Renaissance Conception of Artistic Progress and Its Consequences’’ (1952), in Normand Form: Studies in the Art of the Renaissance (Oxford: Phaidon, 1966), 1:10.91. See Écrits, 447. Freud, Inhibitions, Symptoms, and Anxiety, in SE 20: 93.92. See Freud, Inhibitions, Symptoms, and Anxiety, 98–99. Freud, Introductory Lectures...,in SE 16: 358–59: ‘‘The two forces which have fallen out meet once again in the