Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art
Erwin Panofsky, Raymond Klibansky, Fritz Saxl
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A reprint of the original, published in 1964 by Thomas Nelson & Sons Ltd. Devoted in the main to a reading of Albrecht Dürer's famous engraving, the "Melencolia I" and the metaphysical relation of melancholy to artistic inspiration, this volume is also, as one Goodreads review puts it, "perfect for anyone interested in the Graeco-Roman concept of Kronos/Saturnus, in the Islamic Golden Age and how great physical/medical thinkers in Baghdad and great religious thinkers in Sevilla and Cordoba kept Greek traditions alive during a thousand years of Catholic isolation, and in genuinely wacky "nonfiction" ala Borges (the endlessly recursive essay, the zahir, the great Argentine's own obsession with the Qabbalah and its intermingling with Anglo-Saxon poetry)."
iddle Ages mainly by the fifth-century allegorical writ ers, who had already divested the classical gods of their reiigious character. From these authors the way obviously leads straight to Petrarch ... A particularly interesting example of thi' kind (a. COl'TUpt pa.ss a g~ from St_Au gustlDe. source of a pictorial motif in the Cybele fresco in th e Pala zzo Sch,fanOla. F~rr~ra) ha$ been brought to light by F . ROUG"'ONT (A. War burg. Gts. Sc~rift.". \'OL. 11, Le'pz,g 193 2 . lIS p.641. ... We
some people. Hence Homer said in the poem: "He says that I swim in tears like a man that is heavy with drinking." Sometimes they also become compassionate or savage or taciturn-for some relapse into complete silence. especially those melancholies who are out of their minds. Wine also makes THE NOTION OF MELANCIIQL Y: PROBLEM XXX, I §2] 21 men amorous; this is shown by the fact that a man in his cups may even be induced to kiss persons whom, because of their appearance or age, nobody at all
Ei..blattd~,"", du I,. j Rk,." .• VOL. XI . Stta&b, 1908, "b.te 17 (a~llt ~490). " 302 THE ENGRAVING "MELENCOLIA I" <" [IV_ II . §IJ chara~terisation. '14 It has been stated elsewhere that Durer's engraving B7'6, the so-called DocUw's Dream (PLATE 96). is nothing but an allegory of sloth, original in conception but as a typ~ clearly derivable from illustrations such as the Antwerp'scquence of virtues and vices and the woodcut to the Ship of Fools of 1494, ~~d to be interpreted, if one
Legacy of "Melencolia It> Portraits of Melancholy as a Single Female Figure in the Manner of DOrer Typical Portraits of Melancholy in Late Medieval Almanacs 24' Appendices The Intellectual Background of the New Doctrine .4 Marsilio Ficino 254 I The Polyhedron in "Melencolia !" II The Meaning of the Engraving B70 ' 290 3'7 317 3 Melancholy in Portraits of Saturn or of his Children Chapter II "Melancholia Generosa" 2<)0 The New Meaning of "Melencolia I" Chapter III Melancholy as a