Professional Documents
Culture Documents
621±645
Georges Didi-Huberman
In 1923 Aby Warburg defined the aim of his library, but also his work in general,
as eine Urkundensammlung zur Psychologie der menschlichen Ausdruckskunde.1
What else, then, is the `science without a name' invented by Warburg, if not a
living metamorphosis of traditional art history ± this ostensible history of objects
± into a history of the psyche, as embodied in styles, forms, `pathos formulae',
symbols, fantasies, beliefs; in short, all that Warburg intended by the term
Ausdruck (`expression')?2 A metamorphosis in which `historical psychology'
profoundly modifies the positivist point of view of history and `expression'
profoundly modifies the idealist point of view of art.
`Historical psychology'? This means that the time of the after-life is a psychic
time; a hypothesis that must be situated on several levels all at once. First, the
chosen motifs of Nachleben are the great psychic powers: pathetic
representations, dynamogrammes of desire, moral allegories, figures of mourning,
astrological symbols, etc.3 Next, the domains of Nachleben are style, gesture and
the symbol, as vectors of exchange between heterogeneous spaces and times.4
Finally, the processes of Nachleben can only be understood from the basis of their
`connaturality' with psychic processes in which the actuality of the primitive
manifests itself. Thus Warburg's interest for the latent or critical aspects of the
Pathosformel, as well as those that pertain to the drives and to fantasy.
It is highly significant that Warburg undertook a vast, never finished, and
never published `foundational' project on the psychology of art while working on
his dissertation on Botticelli, a work through which dream motifs, themes of
unconscious desire, of the erotische Verfogungscene (`erotic chase'), of sacrifice
and death discretely, yet confidently, make their way. In the three hundred or so
folios of this manuscript, written between 1888 (when he was just twenty-two
years old) and 1905, Warburg devised an entire psychological and philosophical
vocabulary (we would not want to call it a system) aimed at working out such
formidable problems as `art and thought', the relationship between `form and
content', the `theory of the symbol', the status of `anthropomorphism', the
`association of ideas', `images of thought', etc.5
A vocabulary of `expression' remains omnipresent in all his attempts to
formulate a psychology of art, continuing up to the 1927 Allgemeine Ideen.6 If all
history falls within the realm of a psychology then, for Warburg, the entire history
of images necessarily falls within the realm of a psychology of expression. As I
In fact, between 1891 and 1892 Warburg had already taken preparatory courses
in psychology for medical students. It seems clear, then, that for the young historian
of images medicine signified medicine of the soul above all. As nearly every
connoisseur of Warburg's work would attest,12 from this moment on the question
remains as to which psychological or, rather, psychopathological framework
Warburg needed to found his stylistic analysis and symptomatology of renascent
culture. To claim that he was trying to get at the `symptoms of a collective spirit' is
far too imprecise.13 Reducing the question of the symptom to one of a Hegelian
`meaning of history,' as Gombrich attempted, is even more unjustified.14 And, calling
upon the obscure, if original, evolutionist Tito Vignoli as evidence for Warburg's
recourse to the pyschopathological paradigm is equally insufficient.15
Only from 1918 onwards, from the very pit of his own psychological collapse,
did Warburg begin to see the proximity between his intellectual project and
psychoanalysis. By glossing over this episode, Gombrich effected a considerable
act of epistemological censure.16 Once more, it was a question of burying the
demons of the Freudian unconscious ± as well as of the Nietzschean Dionysiac ±
under the ancient ramparts of a Mitteleuropa in ruins. It was a question of
providing the, henceforth Anglo-Saxon, `Warburgian tradition' with the return to
order of a philosophy of the faculties (Panofsky traded Nietzsche and the eternal
return for Kant and the a priori), bolstered by a `positive' psychology (Gombrich
traded Freud and fantasy for Popper and perception). In order to break through
this censure, we must try to re-imagine the path that brought Warburg to Freud.
* * *
1 NiccoloÁ
dell'Arca, The
Lamentation of
Christ, Detail of
Mary Magdelene,
c. 1480. Terracotta,
Bologna: Santa
Maria della Vita.
Photo: Antonio
Guerra.
the sometimes `irrational' nature of the beliefs upon which they are founded. It
studies the unity of stylistic epochs, as well as the `conflicts' and the `formation of
compromises' that can traverse and dissociate them. It considers the beauty and
charm of masterpieces, as well as the `anxiety' and the `phobia' for which, says
Warburg, they provide a kind of `sublimation'.
Naturally, the theoretical archaeology of this vocabulary requires examina-
tion. It already reveals that if the symbol was at the centre of Warburg's pre-
occupations, it was not there as an abstract synthesis of reason and unreason, of
form and matter, etc.17 but as a concrete symptom of a cleavage ceaselessly at
work in the `tragedy of culture'. When Warburg rests his eyes on a pathetic Mary
2 Bertoldo di
Giovanni,
Crucifixion (Detail),
c. 1485. Bronze
relief. Museo
Nazionale del
Bargello. Photo: the
author.
One could say that Warburgian art history, in its temporal models
(Nachleben) as well as in its models of sense (Pathosformel), sought to apprehend
its objects from their critical effects: from Botticelli's and Polliauolo's `erotic
chases' (where Savonarola justly saw the insolence of an `orgiastic desire at
work')19 to the `superlatives of gesticular language' in Donatello or others where
surged a `perfectly inopportune mobility of expression';20 from the irruption of
Arab astrology in a fifteenth-century Ferrara fresco to the German Reformation's
obscure dealings with astrological beliefs.21 Each time we witness the extent to
which `the necessity to confront the formal world of predetermined expressive
values ± whether they come from the past or present ± represents the decisive crisis
(die entscheidende Krisis) . . . for each artist'.22 In the dance of these decisive crises,
Warburg saw all of Western culture shaken by a symptomatic oscillation that he
himself experienced in its full force, and at first hand:
simultaneously for repression and the return of the repressed: repression in the
`plastic formulae of compensation' (plastische Ausgleichsformel) that barely cross
the `threshold of consciousness' (Schwelle seines Bewuûtseins), and the return of
the repressed in the `crisis' (Krisis) and the `symptomatic' (symptomatisch) figure
that surge with a `maximal degree of energy tension' (hoÈchsten energetischen
Anspannung). In 1907, Warburg compressed this vocabulary into just four lines of
his article on Francesco Sassetti.28 Later, visual incarnations of the `dialectic of the
monster' would be incarnated in DuÈrer's engraving of the eight-legged Sow of
Landser or in the horrible composite figures of anti-Catholic propaganda wood
engravings.29
In reference to these figures Warburg spoke of a `region of prophetic monsters'
(Region der wahrsagenden Monstra).30 It seems possible to read his expression on
the two levels called for by such a double-sided discipline as `historical
psychology'. On the historical side, the monsters of Lutheran propaganda are
`prophetic' of a politico-religious defeat of the Papacy. On the psychological side,
they are unaware that they unleash an unconscious truth (Wahrheit) through the
bias ± the visual figure ± of these legendary (Sage) composite-bodied monsters.
This is why these are exemplary `prophetic' (wahrsagenden) objects for Warburg.
It is also why art history must not only be a history of phantoms, but a history of
prophecies and symptoms too.31
In any case, the Pathosformeln must henceforth be understood as corporeal
crystallizations of the `dialectic of the monster'. Symptom-moments of the
anthropomorphic image, the pathos formulae were envisaged by Warburg
according to the dialectical perspective of repression (`plastic formulae of
compromise') and of the return of the repressed (`crisis', `maximum degree of
tension'). The image in movement32 to which Warburg wanted to devote an atlas,
an occidental genealogical album, details nothing else but symptom-movements.
But, according to what paradigm should we understand them? In Warburg's own
time, attempts to analyse the pathological recesses of `movements of expression'
were far from lacking: beginning with the `physiognomic mechanism' studied by
Theodor Meynert in his Psychiatrie (1844), moving on to Cassirer's `pathology of
symbolic consciousness' (1929), after taking in Karl Jasper's analysis of expressive
disorders in his General Psychopathology (1913).33
Undoubtedly, the French psychological school could also have served
Warburg's designs. For had TheÂodule Ribot not formulated a theory of uncon-
scious memory, a `psychological heritage' ± his own Nachleben of `faculties' and
`instincts' ± by seeking all in the way into cultural history for his examples?34 And
had Ribot not offered an explanation for expressive gestures ± his own notion of
the Pathosformeln ± by elaborating an entire theory of the unconscious of
movement, in which the psyche was to be apprehended from the angle of a `latent
motor activity' that left its `motor residues' at every level of psychic life?35
However, it was above all the hysteria clinic at the end of the nineteenth
century ± as triumphant as it was spectacular ± that furnished the most pertinent
symptomatological model for Warburg's `dialectic of the monster'. Indeed, the
expressive Pathosformeln of crisis and the Nachleben of a latent trauma that
returns in the intensity of effected movements meet in the hysterical symptom (it
should be noted that the participle nach of the verb nachleben can refer to
simulation, and that since the eighteenth century alienists had approached hysteria
from this very angle). At the end of the nineteenth century Charcot emerged as the
uncontested mastermind of the workings of the symptom, and the uncontested
ballet master of the hysterical spectacle. 36
Sigrid Schade has recently defended and argued for an affinity between
Charcot's conception of the hysterical body and Warburg's Pathosformeln. Aside
from the fact that there were two works by Charcot and his collaborator Paul
Richer in Warburg's library,37 there are several other essential links between
Charcot's psychopathology and Warburg's Kulturwissenschaft. For example,
both forms of knowledge present themselves as explorations of a clinical archive;
both relied on an abundant use of photography; and both resulted in the creation
of iconographic repertories.38 One could conceivably imagine Warburg's atlas of
pathos formulae as an equivalent to Richer's famous synoptic table, created under
his master's guidance, of the `grande attaque hysterique compleÁte and reÂgulieÁre'.39
(plates 3 and 4).
According to Schade, the great virtue of this rapprochement is that it responds
to a censure ± a `blind spot' ± in the Warburgian tradition.40 Indeed, art history has
5 (left) RaphaeÈl, Possessed figure. From J.M. Charcot and P. Richer, EÂtudes cliniques sur la
grande hysteÂrie ou hysteÂro-eÂpilepsie, Paris, 1881, p. 29.
6 (right) After Peter Breughel, St. Guy's Dance. From J.M. Charcot and P. Richer, Les
DeÂmoniaques dans l'art, Paris, 1887, p. 35.
It is, if one will forgive the vulgar expression, the period of tours de force;
and it is not without reason that Mr. Charcot has given it the picturesque
name `clownism,' in reference to acrobats' muscular exercises. Indeed, this
period consists of two phases: the illogical attitudes or contortions, and the
great movements, both requiring flexibility, agility and muscular strength
such as to bewilder the spectator and which, during the time of the Saint-
* * *
With Freud, the hysterical symptom, the royal road of psychoanalysis, `formation
of the unconscious' in the fullest sense,50 ceased to depend on an iconography. The
hysterical symptom is neither tableau (representative or standardizing), nor
`reflection' (even of a trauma). Instead, Freud developed dynamogrammes of
multiple polarities heaped or erratically fitted together, sometimes swarming like
serpents: touches with taboos, facilitations with defences, desires with censures,
crises with compromises, fusions with defusions. The moment of the symptom as
such appears at the dialectical crux of these polarities. Freud first observed it in a
context that was likely not that of the cure (one can imagine a common room at
the SalpeÃtrieÁre, or even Charcot's amphitheatre):
In one case which I observed, for instance, the patient pressed her dress up
against her body with one hand (as the woman), while she tried to tear it
off with the other (as the man).51 This simultaneity of contradictory actions
serves to a large extent to obscure the situation, which is otherwise so
plastically portrayed in the attack, and is thus well suited to conceal the
unconscious phantasy that is at work.
15 Anon. (Roman), after a Greek original from c. 300 BC. Laocoon and his sons, c. AD 50,
Marble, The Vatican Museum, Rome. Photo: the author.
This capacity for `resistance' can also be understood as a capacity for survival,
as Nachleben. The historical tenacity of Pathosformeln would thus express itself
metapsychologically, through the internal entanglement of `maintained' conflicts
and ever possible compromises. In Bertoldo di Giovanni's Magdelene (plate 2), the
Antique maenad only `survives' as well as she does because pain and desire are
maintained in their conflict, tense but tangled in a skilfully selected ambiguity, an
ambiguity that makes possible the compromise between the pagan dancer in a
trance and the tearful Christian saint. Freud wrote that the symptom is an
`ingeniously chosen piece of ambiguity with two meanings in complete mutual
contradiction'.60 This reads like a description of all that interested Warburg about
the survival of antique Pathosformeln: for example, the desperate gesture of the
antique Pedagog surviving inversed in the triumphant Renaissance David.
Thus, the symptom plays with the antithesis: it creates `incomprehensible
situations' because it knows how to impart to the most complex workings of
contradictory simultaneity a plastic intensity ± that is, a phenomenal evidence
presented in its entirety to the spectator, like a sculpture. Here, conflict and
compromise, Reaktionsbildungen (`reaction formations') and Ersatzbildungen
(`substitute formations') coexist and respond to one another. Here, representa-
tions that are repressed coexist and exchange with representations that repress.
Freud pointed to a process in dreaming, equally observable in the symptom, which
he called Verkehrung ins Gegenteil (`reversal into the opposite'):
16 Heap of serpents at Oraibi. From A. Warburg, Bilder aus dem Gebiet der Pueblo-Indianer in
Nord-Amerika, 1923 (Berlin, 1988), fig. 79.
Now, what Freud says here about the hysterical contortion is exactly what
Warburg says of figurative formulae capable of survival: their interaction with
antithesis ± that is their insensitivity to logical contradiction, to borrow another
Freudian expression ± simultaneously manifests their work of transformation and
their tenacity, their capacity for eternal return. However, there is more: Warburg
and Freud share a particular attention to what I would call the formal pivots of all
of these reversals of sense.62
In his 1908 article Freud offered us another great lesson in looking when, without
renouncing his quest for a structure, he accepted the complexity of the phenomenon
(the heap of moving serpents [plate 16] that constitutes the `incomprehensible
situation' of the hysterical attack). He did not pinpoint this structure by diminishing
or schematizing what he saw, as Richer did, or even by looking for an idea `behind'
what he saw. Nor would he attempt to create a structure out of iconographic detail,
as Richer tried to do, which, in any case, the disorder of `illogical movements' makes
impossible. Instead, he would discern suddenly a formal line of tension, a sort of
symmetry in movement line, sinuous or broken with the alternately slackening or
coiling body. Dancing or explosive, yet ever present in the very crux of the gestural
chaos distributed by each part of its ungraspable geometry.
Without a doubt Charcot's clinic ± where `hemi-sensitivities' and `hemi-
anaesthesia' abounded ± had prepared Freud for this particular observation.
However, all that was disorder in Charcot's eyes, the `incomprehensible' and
`illogical' character of the situation, was now organized around an axis which
orients masculine fantasy on one side and feminine fantasy on the other. This
hinge abuts and confronts the two contradictory terms at the same time. It does
not dissolve their complexity, it organizes it and diffuses it spatially and
rhythmically. It is the pivot ± itself agitated, I insist ± around which all the turmoil
of contortion is unleashed.
This symmetry in movement offers a formula for the critical pathos exploding
in the attack. How can we not be reminded of Warburg's particular way of
distinguishing the structure of pathos at work in Botticelli's paintings, or
Ghirlandaio's portraits? Warburg observed the structural power of visual pivots
everywhere: the organic border of the body and its `accessories in movement',
with Botticelli, hair or drapery and with Ghirlandaio the architectural border of
the floor and basement at Santa Trinita from which the Medici children's genea-
logical portraits emerge so strangely.63 I would suggest that all the contradictions,
all the conflicts at work in the image, dance around these visual pivots: harmonies
with ruptures, beauties with terrors, resemblances with dissemblances, lives with
deaths. . . . The morphological law of the heap of serpents is no doubt complex,
over-determined, impossible to schematize. But it exists; it allows itself to be
glimpsed. One never captures it entirely, one approaches it, one brushes against it
in the very rhythm of the moving complexities issued by the image.
* * *
One last remark about the visual work of `contradictory simultaneity' is called
for. The source for Freud and Warburg's common intuition is to be found, once
more, in Goethe's aesthetic and morphology. When referring to another heap of
serpents, in the LaocooÈn sculpture, Goethe insisted straightaway on the
importance of antitheses: `[. . .] this work, in addition to all its other merits, is
at one and the same time a model of symmetry and diversity, tranquillity and
motion, contrasts and gradations. The viewer perceives these varied qualities as
whole that is partly physical, partly spiritual . . .'64
Everything doubles over, clashes and melds together in the LaocooÈn.
According to Goethe, the sculptor has `portrayed a physical effect together with
its physical cause'. We can see the three tangled figures `participating in extremely
varied activities'. Moreover, `all three figures are engaged in a two-fold action,'
(eine doppelte Handlung), so that all the degrees of complexity endow every level
of formal organization.65 Finally, Goethe considered the very choice of the theme
represented ± human bodies contorting under the contracting pressure of reptilian
bodies ± an exemplary solution for representing human form. It was a matter of
sculpting multiple forces and demonstrating the anthropological significance of
the contortion itself (whether due to madness or pain, or in a sculptural
masterpiece); that is, the knotted antithesis of movement and paralysis:
The artist's choice of subject is one of the best imaginable. Human beings
are battling against dangerous creatures which do not have to rely on large
numbers of tremendous strength, but rather attack separately on separate
The symptom only gives us access ± immediately and intensely ± to the organization
of its very inaccessibility. This inaccessibility is structural: it cannot be resolved
with another `key' provided by the iconological dictionary. All it tells us is that
there are numerous doors to be opened and that, if an organization exists, it must
be thought of in terms of movements and displacements ± the migrations that
Warburg considered the end of all Pathosformeln, whose moving geographies, as
well as surviving histories, the Mnemosyne Atlas attempts to reconstitute.72
The symptom displaces: it migrates and metamorphoses. Is this not what
Rudolf Wittkower, who thought he was taking from Warburg, called the
migration of symbols?73 Not exactly, for the symptom carries within itself a
condition of inaccessibility and intrusion ± repression, return of the repressed ±
that the symbol does not inevitably entail. Freud established this in his short article
from 1916, `A relation between a symbol and a symptom'. The symbol, ordinarily
made to be understood, becomes symptom the moment it displaces itself and loses
its primary identity, when its proliferation suffocates its signification, transgressing
the limits off its proper semiotic field. Therefore, taking off one's hat in the street is
a symbol in the order of social convention (politely acknowledging someone), or
even in oniric folklore (the hat as genital organ). It becomes a symptom when, for
example, the obsessive performs the casuisitry of the salutation ad infinitum,
deploying a whole network of significations likely to infect ± displacement is a kind
of epidemic ± everything that surrounds it, with the head itself becoming, among
other things, a part that can be removed.74
In short, the symptom is a symbol that has become incomprehensible,
endowed as it is with the powers of the wirksamen unbewuûten Phantasie
(`unconscious fantasy at work'): plastically intensified, capable of `contradictory
simultaneity', of displacement, and therefore, of dissimulation. What is the work
of fantasy? It consists in attracting symbols into a register that literally exhausts
them; they become richer, their combination attains a sort of exuberance, but this
exuberance exhausts them too. The `attraction' to which they submit amounts to
their deformation, to their vocation to formlessness. Freud called this a regression
of symbolic thought toward `pure sensory images' in which representation, in a
certain way, returns to its `raw material'.
which reformulates the Darwinian principle of imprinting, what Warburg, for his
part, would call the engramme. It demonstrates that the symptom is an afterlife, a
memory formation.
Perhaps this is what is most important with regard to our subject. Doesn't
Mnemosyne constitute the cornerstone of the Warburgian anthropology of
images? But, what about this memory? Closer to home, Lacan looked for a
response to the double requisite of the symptom, and of formations of the
unconscious in general, in the notion of the signifying chain combining masking
effects and truth effects, forces of transformation and forces of repetition,
incessant displacements and indestructible imprints. This led Lacan to bring le
geste (the gesture) and la geste (the gest, or epic poem) together as a carnel
immediacy, a single instant endowed with an epic depth (a long story).79 And, is
this not what Rilke meant by the gesture, `this gesture that comes back from the
depths of time'? Isn't this the Pathosformeln as the movement of an afterlife? Yet,
how are we to understand the memory resurfaced by this gesture, this image
imprinted with time to which it gives life and movement?
Georges Didi-Huberman
EHESS, Paris
Notes
This text is a fragment of an extensive study of Warburg's notion of Nachleben: L'image survivante. Histoire
de l'art et temps des fantoÃmes, Paris: Minuit, forthcoming 2001. Translated from the French by Dr Vivian
Rehberg.
Kulturwissenschaft and its Meaning for the symbol. I will return to them further on in
Aesthetics' (1931), The Eloquence of Symbols. the text.
Studies in Humanist Art, Oxford, 1983, p. 21 and 18 Warburg, `Sandro Botticellis ``Geburt der Venus''
30±5. F. Saxl, `Die AusdrucksgebaÈrden der und ``Fruhling''. Eine Untersuchung uÈber die
bildenden Kunst', Bericht uÈber den XII Kongress Vorstellungen von der Antike in der Italienischen
der deutschen Gesellschaft fuÈr Pscyhologie in FruÈhrenaissance' (1893), AusgewaÈhlte Schriften
Hamburg, dir. G. Kafka, Iena, Fischer, 1932, p. un WuÈrdigungen, op. cit. (note 4), pp. 20±21.
13±25. `Sandro Botticelli's Birth of Venus and Spring:
8 G. Bing, `A.M. Warburg', Journal of the An Examination of Concepts of Antiquity in the
Warburg and Courtauld Institutes, vol. 18, 1965, Italian Early Renaissance', The Renewal of Pagan
pp. 309±10. Antiquity, op. cit. (note 2), pp. 89±156. Cf. F.
9 ibid. Cf. A. Dal Lago, `L'arcaico e il suo doppio. Antal and E. Wind, `The Maenad under the
Aby Warburg e l'antropologia', Aut aut, n. 199- Cross,' Journal of the Warburg Institute, 1937,
200, 1984, pp. 77±9. U. Raulff, `Aby Warburg: pp. 70±3.
Ikonische PraÈgung und Seelengeschichte', 19 Warburg, `Sandro Botticellis ``Geburt der Venus'',
Wegbereiter der historischen Psychologie, dir. G. und ``FruÈhling'', pp. 36±53. Translated from the
JuÈtteman, Munich-Weinheim, 1988, pp. 125±30. complete Italian text by J. Hincker, `L'entreÂe du
10 Warburg, Unpublished note 3 August 1888. style ideÂal antiquisant dans la peinture de la
Quoted from E.H. Gombrich, Aby Warburg: An Renaissance,' in A. Warburg, Essais Florentin,
Intellectual Biography, London, 1970 (Chicago, Paris, 1990, p. 24.
1986), pp. 39±40. 20 Warburg, `Der Eintritt des anitkisierenden
11 Warburg, `Souvenirs d'un voyage en pays Idealstils in die Malerie der FruÈhrenaissance,'
Pueblo', op. cit, (note 1), pp. 254±5. (1914) Gesammelte Schriften, vol. I, op. cit. (note
12 Cf. Bing, op. cit. (note 8), p. 303. `In the years 3), pp. 173±6. `The Emergence of the Antique as
following his university training the graph of a Stylistic Ideal in Early Renaissance Painting',
Warburg's life shows some odd deflections. The The Renewal of Pagan Antiquity op. cit. (note 2),
first was an abortive attempt to study medicine. pp. 271±5.
In this way he may have been yielding to a 21 Warburg, `Italienische Kunst und internationale
misplaced hope; what he was looking for was a Astrologie im Palazzo Schifanoja zu Ferrara'
key not so much to the workings of the body as (1912), AusgewaÈhlte Schriften, op. cit. (note 4),
to those of the mind.' Cf. also E.H. Gombrich, pp. 173±98. `Italian Art and International
op. cit. (note 10), pp. 67-68. Astrology in the Palazzo Schifanoia, Ferrara',
13 J. Mesnil, `La BibliotheÁque de Warburg et ses The Renewal of Pagan Antiquity, op. cit. (note
publications', Gazette des Beaux-Arts vol. 14, 2), pp. 563±93, and `Heidnisch-antike Weissagung
1926, p. 238. `En somme, Warburg a recherche et in Wort und Bild zu Luthers Zeiten,' (1920),
reconnu dans les oeuvres d'art moins l'expression AusgewaÈhlte Schriften, op.cit., pp. 199-303.
d'une estheÂtique que le symptoÃme d'un eÂtat `Pagan-Antique Prophecy in Words and Images in
d'aÃme collectif.' the Age of Luther,' The Renewal of Pagan
14 E.H. Gombrich, `In Search of Cultural History', Antiquity, op. cit. (note 2), pp. 597-697.
(1969), (`Symptoms and Syndromes') Ideals and 22 Warburg, `Einleitung zum Mnemosyne-Atlas',
Idols: Essays on Values in History and Art, (1929), in Die Beredsamkeit des Leibes. Zur
London, 1979, pp. 47±9. KoÈrpersprache in der Kunst, eds I. Barta-Fliedl
15 E.H. Gombrich `The Ambivalence of the and C. Geissmar-Brandi, Salzburg, 1992, p. 172.
Classical Tradition. The Cultural Psychology of Translated into French by P. Rusch, `Mnemosyne
Aby Warburg', Tributes: Interpreters of our (Introduction), Trafic 9, 1994, p. 41.
Cultural Tradition, Oxford, 1984, pp. 119±20. 23 Warburg, Tagebuch, 3 April 1929, quoted from
Gombrich, `Aby Warburg e l'evoluzionismo Gombrich, Aby Warburg, op. cit. (note 10), p.
ottocentesco', Belfagor vol. 49, 1994, pp. 638 and 303.
646±7. 24 Warburg, Fragmente, 27 March 1889, cited by
16 Cf. E. Wind, `On a Recent Biography of Gombrich, op. cit. (note 10), p. 48.
Warburg', (1971) The Eloquence of Symbols: 25 Warburg, Briefmarke, cited by Gombrich, op. cit.
Studies in Humanist Art, Oxford, 1983, p. 107. (note 10), p. 252.
17 Cf. E. Cassirer, `La forme du concept dans la 26 Gombrich, op. cit. (note 10), pp. 251±2. Aby
penseÂe mythique', (1922), Oeuvres VI, Trois Warburg, Allgemeine Ideen, op. cit. (note 6), pp.
essais sur le symbolique, trans. J. Carro and J. 14±16. Notes dated 30 and 31 May 1927.
Gaubert, Paris, 1997, pp. 39-111 and `Le concept 27 Warburg, `Einleitung zum Mnemosyne Atlas,'
de forme symbolique dans l'eÂdification des art. cit. (note 22), p. 172, trans. cit. (note 22), pp.
sciences de l'esprit,' (1923), pp. 7-37. These two 40±1.
texts, published in the Studien and the VortraÈge 28 Warburg, `Francesco Sasettis letztwillige
der Bibliothek Warburg, are worth reading, to a VerfuÈgung,' (1907), AusgewaÈhlte Schriften und
certain degree, as `sythesizing' responses to (or WuÈrdigungen, op. cit. (note 4), p. 149. `Francesco
interpretations of) Warburg's understanding of Sassetti's Last Injunctions to His Sons', pp. 223±
64. `We now feel why the wind goddess, Fortune, The Knotted Subject: Hysteria and Its
came into Francesco Sassetti's mind in the crisis Discontents, Princeton, 1998.
of 1488 as a measure of his own tense energy: for 37 J-M Charcot and P. Richer, Les Difformes et les
Ruccellai and for Sassetti alike, she functions as malades dans l'art, Paris, 1889; P. Richer, L'art et
an iconic formula of reconciliation between the la meÂdecine, Paris, 1902.
'medieval trust in God and the Renaissance trust 38 S. Schade, `Charcot and the Spectacle of the
in self.', p. 242. It is important to note that Hysterical Body. The ``Pathos Formula'' as an
Britt's translation omits the word Aesthetic Staging of Psychiatric Discourse ± a
`symptomatisch', used by Warburg in the original Blind Spot in the Reception of Warburg', (1993),
German to describe how the wind goddess trans. A. Derieg, Art History vol. 18, 1995, pp.
Fortuna functioned for Sassetti. 499±517.
29 Warburg, `Heidnisch-atike Weissagung in Wort 39 ibid., p. 503. Cf. P. Richer, Etudes cliniques sur
und Bild zu Luthers Zeiten', art. cit. (note 21), la grande hysteÂrie ou hysteÂro-eÂpilepsie, Paris,
pp. 244±55, trans. cit., pp. 632±41. 1881 (re-edition 1885), pl. V. and G. Didi-
30 ibid., p. 637. Huberman, Invention de l'hysteÂrie, op. cit. (note
31 Cf. G. Didi-Huberman, `L'histoire de l'art aÁ 36), pp. 113±19.
rebrousse-poil. Temps de l'image et `travail au 40 S. Schade, op. cit. (note 38), pp. 499±501, who
sein des choses' selon Walter Benjamin', Les underlines not only the influence of Charcot, but
Cahiers du MuseÂe national d'Art moderne vol. also the possible influences of Bergson, Bernheim
72, 2000, pp. 4±29. (Benjamin avec Warburg: and, of course, Freud.
`L'histoire de l'art est une histoire de 41 G. Didi-Huberman, `Savoir-mouvement (l'homme
propheÂties'.) qui parlait aux papillons)', preface to P-A
32 Cf. P.-A. Michaud, Aby Warburg et l'image en Michaud, Aby Warburg et l'image en
mouvement, op. cit. (note 1). mouvement, op. cit. (note 1), pp. 7-20.
33 Cf. T. Meynert, Psychiatrie. Klinik der 42 S. Schade, op. cit. (note 38), p. 502.
Erkrankungen des Vorderhirns, Vienna, 1884, pp. 43 F. Nietzsche, La Naissance de la trageÂdie (1872),
251±62. K. Jaspers, Psychopathologie geÂneÂrale eds G. Colli and M. Montinar, trans. P. Lacoue-
(1913), trans. A. Kastler et J. Mendousse, Paris, Labarthe, Oeuvres philosophiques compleÁtes vol.
1928, pp. 227-173. E. Cassirer, `Etude sur la I, Paris, 1977, pp. 44±54. J-M Charcot et P.
pathologie de la conscience symbolique', (1929), Richer, Les DeÂmonaiques dans l'art (1887), eds,
trans. A. KoyreÂ, Journal de Psychologie normale G. Didi-Huberman and P. FeÂdida, Paris, 1984,
et pathologique, vol. 26, 1929, pp. 289±336 and pp. 28±38.
523±66. 44 Recalling the tables Warburg traced, but left
34 T. Ribot, L'HeÂridite psychologique, Paris, 1881 undeveloped, in his manuscript Schemata
(re-edition 1890), especially pp. 103-118 Pathosformeln (1905±1911), London, Warburg
('L'heÂreÂdite dans l'histoire' which refers to the Institute Archive, III, 138.1.
Medici family). Warburg was to acquire many 45 See Darwin, The Expression of the Emotions in
other works by the French school concerning the Man and Animals (1872), Chicago, 1965.
question of `unconscious memory', including: P. 46 P. Richer, Etudes cliniques sur la grande hysteÂrie,
Sollier, Le ProbleÁme de la meÂmoire. Essai de op. cit. (note 39), pp. 89±116.
psycho-meÂcanique, Paris, 1900; T. Ribot, `La 47 Cf. Didi-Huberman, `L'observation de CeÂlina',
meÂmoire affective: nouvelles remarques,' Revue art .cit. (note ??), pp. 267±80.
philosophique, LXIV, 1907, pp. 588-613; J.M. 48 P. Richer, Etudes clinques sur la grande hysteÂrie,
Baldwin, `La meÂmoire affective et l'art', ibid., op. cit. (note 39), p. 69. For an analysis of this
vol. 23, 1909, pp. 449±60. F. Paulhan, `La phase and Charcot's texts, cf. Didi-Huberman,
substitution psychique,' ibid., LXXIII, 1912, pp. Invention de l'hysteÂrie, op. cit. (note 36), pp.
113±39 and 269±89; E. d'Eichthal, Du roÃle de la 161±162, 246±272, etc.
meÂmoire dans nos conceptions metaphysique, 49 Cf. L.B. Ritvo, L'Ascendant de Darwin sur Freud
estheÂtiques, passionnelles, actives, Paris, 1920; P. (1990), trans. P. Lacoste, Paris, 1992, pp. 264±73.
Janet, L'Evolution de la meÂmoire et la notion de Cf. also P. Lacoste, `Sur les theÂories freudiennes
temps, Paris, 1928. de l'eÂvolution,' Les Evolutions. PhylogeneÁse de
35 T. Ribot, La Vie inconsciente et les mouvements, l'individuation, dirs. P. FeÂdida and D. WidloÈcher,
Paris, 1914. Paris, 1994, pp. 21±43.
36 Cf. G. Didi-Huberman, Invention de l'hysteÂrie. 50 See Freud `Vorlesungen zur EinfuÈhring in die
Charcot et l'iconographie photographique de la Psychoanalyse' as `Introductory Lectures on
SalpeÃtrieÁre, Paris, 1982. Amongst the most recent Psychoanalysis' (1916±1917) The Standard
studies, cf. especially J. Beizer, Ventriloquized Edition of the Complete Psychological Works of
Bodies: Narratives of Hysteria in Nineteenth- Sigmund Freud, vols 15 and 16. Translated from
Century France, Ithaca and London, 1994; J. the German under the general editorship of
Matlock, Scenes of Seduction: Prostitution, James Strachey, London: The Hogarth Press and
Hysteria, and Reading Difference in Nineteenth- the Institute of Psychoanalysis, reprint 1995 (first
Century France, New York, 1994; E. Bronfen, pub'd 1959) and `Hemmung, Symptom und
record of some initial excavations along the route (note 58), pp. 542±3 Cf. FeÂdida, Le site de
of the long migration that brought antique l'eÂtranger. La situation psychanalytique, Paris,
superlatives of gesture.' Warburg, `Einleitung 1995, pp. 221±44. ('La reÂgression').
zum Mnemosyne-Atlas', op. cit. (note 22), p. 76 J. Lacan, Ecrits, Paris, 1996, pp. 358, 372, 518,
173, p. 43±4. 689; and Lacan `Le sinthome', (1975), Ornicar,
73 R. Wittkower, La Migration des symboles (1977), no. 6, 1976, pp. 3-20.
trans. D. Hechter, Paris, 1992. 77 Lacan, Ecrits, op. cit. (note 76), p. 280. Lacan, Le
74 Freud, `Eine Beziehung zwischen einem Symbol SeÂminaire, XI. Les quatre concepts fondamentaux
und einem Symptom,' as `A Connection Between de la psychanalyse (1964), trans. J-A Miller,
a Symbol and a Symptom', (1916) SE, vol. 14, Paris, 1973, p. 16.
pp. 339±40. On the relation between this example 78 Freud, `The Psychology of the Dream Processes,
and Panofsky's paradigm of the `removal of the On Regression,' Interpretation of Dreams, op.
hat', cf. Georges Didi-Huberman, Devant cit. (note 58), pp. 533-549.
l'image. Question poseÂe aux fins d'une histoire 79 Lacan, Le SeÂminaire, V. Les formations de
de l'art, Paris, 1990, pp. 216±17. l'inconscient, op. cit. (note 50), p. 475.
75 Freud, `The Interpretation of Dreams', op. cit.