University of Virginia Library

BIBLIOGRAPHY

L. B. Alberti, On Painting, ed. J. Spencer (New Haven,
1956; revised ed. 1966). E. Auerbach, “Figura” (1944); trans.
and published in Scenes From the Drama of European Liter-
ature (New York, 1959), pp. 11-76. K. Bauch, “Imago”
(1960), Studien zur Kunstgeschichte (Berlin, 1967), pp. 1-20.
G. P. Bellori, Descrizione delle imagini dipinte da Raffaello
... (Rome, 1695; ed. used is 1751). R. Berliner, “The Free-
dom of Medieval Art,” Gazette des Beaux-Arts, 6/28 (1945),
263-88; idem, “Bemerkungen zu einigen Darstellungen des
Erlösers als Schmerzensmann,” Das Münster, 9 (1956),
97-117x. J. Białostocki, “Iconografia e Iconologia,” Enciclo-
pedia Universale dell'Arte (1962), Vol. VII, cols. 163-75;
trans. as Encyclopedia of World Art (1966), Vol. VII, cols.
769-85, lists almost all important older contributions to this
field; idem, “Romantische Ikonographie,” Stil und Ikonog-
raphie (Dresden, 1966), pp. 156-81; idem, “Kompozycja
emblematyczna epitafiów ślaskich XVI wieku” (“Emblem-
atic Composition of Silesian Epitaphs of the Sixteenth Cen-
tury”), Ze studiów nad Sztuka XVI wieku na Řlasku
(Wrocław, 1968) pp. 77-93; idem, “Esilio Privato,” Bulletin
du Musée National de Varsovie, 10 (1969), 95-101. J.

Chydenius, The Theory of Medieval Symbolism (Helsingfors,
1960), Series of the Societas Scientiarum Fennica: Com-
mentationes Humanarum Litterarum, 27, 2. R. J. Clements,
Picta Poesis:... (Rome, 1960). F. Creuzer, Symbolik und
Mythologie der Alten Völker (Leipzig and Darmstadt, 1810;
revised ed. 1819). F. Cumont, Recherches sur le symbolisme
funéraire des Romains (Paris, 1942). L. Eitner, “The Open
Window and the Storm-Tossed Boat,” Art Bulletin, 37
(1955), 281-90. H. Frankfort, “The Archetype in Analytical
Psychology and the History of Religion,” Journal of the
Warburg and Courtauld Institutes, 21 (1958), 166-78.
K. Garas, “Allegorie und Geschichte in der Venezianischen
Malerei des 18. Jahrhunderts,” in proceedings of the XXI
International Congress of the History of Art, Bonn: Stil und
Überlieferung in der Kunst des Abendlandes (Berlin, 1967),
3, 280-83. K. Giehlow, “Die Hieroglyphenkunde des
Humanismus in der Allegorie der Renaissance,” Jahrbuch
der Kunsthistorischen Sammlungen des Allerhochsten
Kaiserhauses, 32 (1915), 1-232. C. Gilbert, “On Subject and
Not-Subject in Italian Renaissance Pictures,” Art Bulletin,
34 (1952), 202-16. C. Ginzburg, “Da A. Warburg a E. H.
Gombrich: Note su un problema di metodo,” Studi medi-
evali, series 3, 7 (1966), 1015-65. E. H. Gombrich, “Icones
Symbolicae. The Visual Image in Neo-Platonic Thought,”
Journal of the Warburg and Courtauld Institutes, 11 (1948),
163-92; idem, “The Use of Art for the Study of Symbols,”
American Psychologist, 20 (1965). A. Grabar, L'iconoclasme
byzantin. Dossier archéologique (Paris, 1957); idem, Chris-
tian Iconography. A Study of Its Origins (Princeton, 1969).
S. J. Gudlaugsson, De Comedianten bij Jan Steen en zijn
tijdgenooten ('s-Gravenhage, 1945). W. S. Heckscher, “The
Genesis of Iconology,” Stl und Überlieferung in der Kunst
des Abendlandes, Akten des XXI. Internationalen Kon-
gresses für Kunstgeschichte (Berlin, 1967), 3, 239-62. G.
Hermerén, Representation and Meaning in the Visual Arts.
A Study in the Methodology of Iconography and Iconology,
Lund Studies in Philosophy, Vol. I (Lund, 1969). R. Hinks,
Myth and Allegory in Ancient Art (London, 1939). W.
Hofmann, Das Irdische Paradies (Munich, 1960). G. J.
Hoogewerff, “L'Iconologie et son importance pour l'étude
systématique de l'art chrétien,” Rivista d'Archeologia Cris-
tiana, 8 (1931), 53-82. E. de Jongh, Zinne- en minnebeelden
in de schilderkunst van de zeventiende eeuw (—1967); idem,
“Erotica in Vogelperspectief. De dubbelzinnigheid van een
reeks 17de eeuwse genrevoorstellingen,” Simiolus, 3
(1968-69), 22-72. L. Kalinowski, “Treści ideowe i estetyczne
Drzwi Gnieźnieńskich” (“Ideological and Aesthetic Content
of the Gniezno Bronze Doors”), in Drzwi Gnieźnieńskie, ed.
M. Walicki (Wroclaw, 1959), 2, 7-160. H. Keller, Tizians
Poesie für König Philip II. von Spanien (Wiesbaden, 1969).
R. Klein, “La théorie de l'expression figurée dans les traités
italiens sur les imprese, 1555-1612,” Bibliothèque d'Hu-
manisme et Renaissance, 19 (1957), 320-41, republished with
the other relevant studies in la forme et l'intelligible (Paris,
1969). R. Klibansky, E. Panofsky, F. Saxl, Saturn and Melan-
choly (London, 1964). J. B. Knipping, Ikonografie van de
Contra-Reformatie in de Nederlanden (Hilversum, 1939-40).
G. Kubler, The Shape of Time (New Haven and London,
1962). R. W. Lee, “Ut pictura poesis,” Art Bulletin, 22
(1940), 197-269. E. Mâle, L'art religieux du XIIIe siècle en
France (Paris, 1898), English ed. used (New York, 1958);
idem, L'art religieux de la fin du Moyen-Age en France
(Paris, 1908); idem, L'art religieux du XIIe siècle en France
(Paris, 1922); idem, L'art religieux après le Concile de Trente
(Paris, 1932). J. Maurin Białostocka, Lessing i sztuki plas-
tyczne (“Lessing and the visual arts”), (Wroclaw, Warszawa,
Kraków, 1969). E. F. von Monroy, Embleme und Emblem-
bücher in den Niederlanden: 1560-1630, ed. H. M. von Erffa
(Utrecht, 1964). J. Montagu, “The Painted Enigma and
French Seventeenth Century Art,” Journal of the Warburg
and Courtauld Institutes, 31 (1968), 307-35. W. Mrazek,
Ikonologie der barocken Deckenmalerei (Vienna, 1953),
Üsterreichische Akademie der Wissenschaften, Philo-
sophisch-historische Klasse, Sitzungsberichte, 228/3. A. D.
Nock, “Sarcophagi and Symbolism,” American Journal of
Archaeology, 50 (1946), 166ff. D. Panofsky and E. Panofsky,
“The Iconography of the Galérie François Ier at Fontaine-
bleau,” Gazette des Beaux-Arts, 6/52 (1958), 113-90
E. Panofsky, “Über das Verhältnis der Kunstgeschichte zur
Kunsttheorie,” Zeitschrift für Aesthetik und allgemeine
Kunstwissenschaft, 18 (1925), 129-61; idem, Studies in
Iconology (New York, 1939); idem, ed. Abbot Suger (Prince-
ton, 1946); idem, Gothic Architecture and Scholasticism
(Latrobe, Pa., 1951); idem, Early Netherlandish Painting
(Cambridge, Mass., 1953); idem, Meaning in the Visual Arts
(Garden City, N. Y., 1955); idem, Renaissance and Renas-
cences in Western Art (Stockholm, 1960); idem, Tomb Sculp-
ture (New York, 1964). E. Panofsky and F. Saxl, “Classical
Mythology in Medieval Art,” Metropolitan Museum Studies,
4 (1932-33), 228-80. M. Praz, Studies in Seventeenth Cen-
tury Imagery (London, 1939-47; 2nd ed., Rome, 1964). S.
Ringbom, “Devotional Images and Imaginative Devotions.
Notes on the Place of Art in Late Medieval Private Piety,”
Gazette des Beaux-Arts, 6, 73 (1969), 159-70. Joseph Sauer,
Symbolik des Kirchengebäudes und seiner Ausstattung in
der Auffassung des Mittelalters, 2nd ed. (Freiburg i. B.,
1924). F. Saxl, “Frühes Christentum und spätes Heidentum
in ihren künstlerischen Ausdrucksformen,” Wiener Jahrbuch
für Kunstgeschichte, 2 (1923), 63-121. M. Schapiro, “The
Ruthwell Cross,” Art Bulletin, 26 (1944), 232-45; idem, “On
the Aesthetic Attitude in Romanesque Art,” in Art and
Thought, issued in Honour of Ananda Coomaraswamy
(London, 1947), 139-50. J. Seznec The Survival of the Pagan
Gods (New York, 1953). O. G. von Simson, The Gothic
Cathedral (New York, 1956). R. E. Spear, “The Literary
Source of Poussin's Realm of Flora,” The Burlington Maga-
zine, 107 (1965), 563-69. L. Volkmann, Bilderschriften der
Renaissance (Leipzig, 1923). Hans van de Waal, Drie
eeuwen vaderlandsche geschieduitbeelding: 1500-1800 ('s-
Gravenhage, 1952); idem, “Some Principles of a General
Iconographical Classification,” in Actes du XVIIe Congrès
International d'Histoire de l'Art, Amsterdam, 1952 (La Haye,
1955), 601-06. E. Wind, “Charity: the Case History of a
Pattern,” Journal of the Warburg Institute, 1 (1937), 322ff.

JAN BIAŁOSTOCKI

[See also Allegory; Baroque; Classicism; Criticism; Enlight-
enment; Motif; Myth; Naturalism in Art; Neo-Platonism;
Renaissance Humanism; Romanticism; Symbolism; Tem-
perance; Ut pictura poesis.]