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October 14, 2009 Dear Participants in the TEMS lab on “Albrecht Durer’s Melancholy Mathematics,” What I will present is extremely new and as yet un‐ripened work centered on interpreting the mathematical imagery in Albrecht Durer’s famous engraving Melencolia I (1514). I have included an image of the engraving here for you to look at. As many of you know, this engraving is one of the most famous in the history of Western art, and as a result scholarship on it is voluminous. Yet the engraving has also been given a powerful interpretation, one that remains canonical even if it is about to reach its ninetieth birthday. The interpretation, associated most famously with the name of Erwin Panofsky but actually the result of a collaboration between Panofsky and Raymond Klibansky and Fritz Saxl, is also a pioneering example of the “iconological” approach to art historical analysis that Panofsky in particular made famous. This method too has become canonical within the discipline of art history, and it makes this particular interpretation of Melencolia I all the more important in the history of art. My work engages with both the precise interpretation of Melencolia I given by Panofsky et. al. and the founding iconological method that their reading of this image both illustrated and made authoritative. To understand what I have to say, it will therefore be helpful, I think, if you have an understanding of what Panofsky did with this image and how his interpretation is developed. Accordingly I have included here a photocopy of the relevant sections from the Klibansky, Panofsky, and Saxl book, Dürer’s Melencolia I. Eine quellen- und typengeschichtliche Untersuchung, originally published in 1923 as part of the Studien der Bibliothek Warburg series, and then expanded and translated into English as Saturn and Melancholy. Studies in the history of Natural Philosophy, Religion, and Art (New York: Basic Books, 1964). In an ideal world, you would all read all of these pages before the lab session, but since I know the realities of the world we actually live in, I would love it if those with less time could at least read the second chapter, called “The New Meaning of Melencolia I,” pp. 317‐73. Those with even less time could still be very helpful in reading only pp. 310‐33. If you cannot read at all, please come anyway as I will try to summarize my thoughts in ways that do not assume any prior reading. Thanks in advance for your help with this and I look forward to our discussion on 10/22. All best, J.B.

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Page 1: October 14, 2009 Dear Participants in the TEMS lab on

October14,2009

DearParticipantsintheTEMSlabon“AlbrechtDurer’sMelancholyMathematics,”WhatIwillpresentisextremelynewandasyetun‐ripenedworkcenteredoninterpretingthemathematicalimageryinAlbrechtDurer’sfamousengravingMelencoliaI(1514).Ihaveincludedanimageoftheengravinghereforyoutolookat.Asmanyofyouknow,thisengravingisoneofthemostfamousinthehistoryofWesternart,andasaresultscholarshiponitisvoluminous.Yettheengravinghasalsobeengivenapowerfulinterpretation,onethatremainscanonicalevenifitisabouttoreachitsninetiethbirthday.Theinterpretation,associatedmostfamouslywiththenameofErwinPanofskybutactuallytheresultofacollaborationbetweenPanofskyandRaymondKlibanskyandFritzSaxl,isalsoapioneeringexampleofthe“iconological”approachtoarthistoricalanalysisthatPanofskyinparticularmadefamous.Thismethodtoohasbecomecanonicalwithinthedisciplineofarthistory,anditmakesthisparticularinterpretationofMelencoliaIallthemoreimportantinthehistoryofart.MyworkengageswithboththepreciseinterpretationofMelencoliaIgivenbyPanofskyet.al.andthefoundingiconologicalmethodthattheirreadingofthisimagebothillustratedandmadeauthoritative.TounderstandwhatIhavetosay,itwillthereforebehelpful,Ithink,ifyouhaveanunderstandingofwhatPanofskydidwiththisimageandhowhisinterpretationisdeveloped.AccordinglyIhaveincludedhereaphotocopyoftherelevantsectionsfromtheKlibansky,Panofsky,andSaxlbook,Dürer’sMelencoliaI.Einequellen­undtypengeschichtlicheUntersuchung,originallypublishedin1923aspartoftheStudienderBibliothekWarburgseries,andthenexpandedandtranslatedintoEnglishasSaturnandMelancholy.StudiesinthehistoryofNaturalPhilosophy,Religion,andArt(NewYork:BasicBooks,1964).Inanidealworld,youwouldallreadallofthesepagesbeforethelabsession,butsinceIknowtherealitiesoftheworldweactuallylivein,Iwouldloveitifthosewithlesstimecouldatleastreadthesecondchapter,called“TheNewMeaningofMelencoliaI,”pp.317‐73.Thosewithevenlesstimecouldstillbeveryhelpfulinreadingonlypp.310‐33.Ifyoucannotreadatall,pleasecomeanywayasIwilltrytosummarizemythoughtsinwaysthatdonotassumeanypriorreading.ThanksinadvanceforyourhelpwiththisandIlookforwardtoourdiscussionon10/22.Allbest,J.B.

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