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Aby Warburg's (1866-1929) Dots and Lines. Mapping the Diffusion of Astrological Motifs in Art
History
Author(s): Dorothea McEwan
Source: German Studies Review, Vol. 29, No. 2 (May, 2006), pp. 243-268
Published by: Johns Hopkins University Press on behalf of the German Studies Association
Stable URL: http://www.jstor.org/stable/27668033
Accessed: 31-01-2016 19:37 UTC
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AbyWarburg's (1866-1929) Dots
and Lines. Mapping the Diffusion of
Astrological Motifs inArt History
Dorothea McEwan
The Warburg Institute, University of London
Abstract: The art theorist and intellectual historian Aby Warburg made it his life's goal
to research the "Wanderstra?en der Kultur," conceived as the pathways of the mind. As
"image historian" he traced the metamorphoses of ideas as translated into art, literature,
and music over time and space, to probe what itmeant to orient oneself in space. The
symbols and images, is one such well-known tool of orientation. Less widely known is
his quest, presented here, to understand astrological motifs and their shifting place in
an evolving intellectual world view.
Introduction
The question "What does itmean to orient oneself in space?"?this is the rough
translation of "Was bedeutet es, sich im Raum zu orientieren?"? was
posed by
Aby Warburg on the morning of the day on which he died, 26 October 1929,
adding, "my speech as incoming Rector of Hamburg University would have been
called something like this."1While paraphrasing Kant's "What does itmean to
orient oneself in thought?"2 Warburg's question formulated his quest for orienta
tion. The immediate was Ernst Cassirer's lecture as Rector of
prompt inaugural
Hamburg University on 7November 1929 on "Forms and Change of Forms in
the Philosophical Concept of Truth." In it the philosopher Cassirer touched on
von Ranke 's task, as an historian, to make visible the "universe of ideas."3
Leopold
Warburg used the term "orientation" frequently in his research into "die
Wanderstra?en der Kultur,"4 the highways of culture, the pathways of the mind or
intellect, and more precisely into the "Bilderwanderung," the journey of images,
literal and metaphorical.5 Thus, despite his own insistence on being an "image or
historian"6 and not an "art historian," he used the label "historian"
picture loosely,
certainly not in a Rankean sense of constructing linear history or histories, but
in the sense of excavating those thought processes that led people to a spatial
grasp of orientation in the cosmos, not unlike a geological map, which shows
strata, rock faultlines, and routes of subterranean water courses that
formations,
exist are invisible to the
yet eye.
A short note on Aby Warburg: Aby Warburg, 1866-1929, founder of the
Kulturwissenschaftliche Bibliothek Warburg inHamburg, abbreviated to KBW
or jokingly referred to as "Keimzelle bedeutender Werke" or "K?nnte besser
werden,"7 which was transferred to London in 1933 and incorporated asThe
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244 German Studies Review 29/2 (2006)
Warburg Institute into the University of London in 1944, embodies the scholar,
intellectual, visionary who went beyond narrow confines of academic life in
and German academic institutions in
general particular.
Trained as an art historian, he transcended the purely formal tradition of
works of art to masters or schools. He tried to understand the trans
attributing
mission of thought, the transmission and metamorphoses of images; he called
his endeavor the research into the "Wanderstra?en des Geistes,"8 paths traced
or taken
by the mind, meandering bye-ways of the mind, from classical antiquity
to Renaissance and to art. In his
Europe beyond contemporary correspondence
with Franz Boll, the great scholar of classical philology, Warburg stressed that
the academic summer courses in 1913, precursors of the fully fledged Hamburg
University which was only established in 1919, needed to offer lectures on
linguistics and the exchange of intellectual thought "on the significance of the
world view of classical antiquity for the culture of the present time."9
Warburg went further, he was interested in the myriad ways of expressing
fascination: visual, aural, and emotional or in
put differently images, language,
music, and religions. He studied the "paths taken by the mind," the staging
posts in the development of scientific thought, tracing the history of disciplines
changing color: how numerology turned into mathematics, how alchemy gave
birth to how invocations and incantations evolved into a of
chemistry, corpus
religious texts and songs, stories and literature; how astrology, through scientific
observations of the celestial sphere became astronomy. Particularly the triad of art,
literature, and religion embodies for him the corpus of culture, that which needs
to be tended and nurtured so that it can be harvested, enjoyed, and handed on.
Warburg's quest for orientation will be discussed in three sections: 1.Warburg's
understanding of the role of astrology; 2. his explanation of this role with the help
of similes likeWanderstra?en, the rotating observation tower and theMnemosyne
Atlas project; and 3.Warburg's tool of the Wanderkarte.
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Dorothea McEwan 245
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246 German Studies Review 29/2 (2006)
^illiiS'll.......
mr.)
.
IQ.:.:,-
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r ? ^1
Bilderwanderung
Warburg's
Wanderkarte:
Figure
2:
so-called
"Die
Sphaera
der
Albricus,
Barb?rica,
Humanistische
Restitution." Lecture in
1911
Hamburg, (WIA,m.78.2.[24]).
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248 German Studies Review 29/2 (2006)
show the origins of ideas and images and their journeys over vast territories and
timescales.The language andmethod used byWarburg were those of cartography.
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Dorothea McEwan 249
Il!3:fIMn?^fn^it
:*>?L?l?
?ill
ti||ft||ii?ip
fo1i???laff?l!?!lilil?ii?ll?i
""':"
:ri*!i:w:*!!;"
IlitlIl?llllii?i?liH [ti:I i ?I
.i
:J?::??*?l
Mi'
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ViO S? C/5
I O
Grundlegende
Bruchst?cke
Zu
Figure
4:
IL
21/11/1898.
einer
Ausdruckskunde,
pragmatischen
"Reactionsform
Ein
auf
(WIA,
druck."
III.43.2.1.[46]).
Transcription
264.
of
p.
words
on
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Dorothea McEwan 251
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252 German Studies Review 29/2 (2006)
treatment of a topic, but a selection which pointed in the direction that research
should take. It was therefore necessary to do research in every library in France
and Italy so that the routes along which the images traveled became clear.45
Observation and memory had created pictures and stories and these were to be
arranged in away that their diffusion and direction would become visible.
However, to tie down these peregrinations proved difficult. Warburg, in the
first instance, put up mobile walls in the KBW on which he arranged photo
on the cloth-covered
graphs grouped according to topics. He pinned them up
mobile walls so that they could easily be taken down again and rearranged anew.
Warburg could choose his examples from his vast collections of several thousand
photographs and could use them as auto cues when explaining the journeys of
a
images to library users, standing in front of the illustrations arranged to fit
lecture This ever was not conducive to
particular topic. shifting arrangement
3. "Wanderkarte"
I have explained the importance of astrology toWarburg, I have introduced
you to the terminology used byWarburg, the high roads orWanderwege, the
observation tower and the Mnemosyne Atlas. It is now time that we
rotating
look at the method Warburg employed to put these all together by employing
"
the tool of the Wanderkarte."
A map a bird's view. It makes it easy to grasp chunks of
presents eye large
information. For Warburg maps were heuristic tools, or finding aids, for his
in for his interest in the network of roads of ideas. He was
research, particular
amapmaker, and selective like all mapmakers. His selection had a purpose, to
show the diffusion of ideas.
He realized that he needed specialist tools to organize thematerial, to codify
tomake visible
meaning. The method for providing the synoptic tool with which
the high roads or arteries and the work on the rotating observation towers filled
with images was what he called theWanderkarte, the map of images. Itwould be a
psychogeographical tool to chart human inventiveness aswell asmemory. Itwould
show what has remained hidden or what we would see "as if a sort of autonomous
fate had blown the works of Arat andTeukros hither and thither."47 He referred to
theGreek poet and astronomer Aratus whose books describing constellations were
called Aratea inCicero's translation and illustrated inCarolingian times; Teukros
or Teucer the Babylonian was the Egyptian astronomer and astrologer (fig. 5).
Back in 1913, for the summer course with Franz Boll and Carl Bezold on
"Classical Star Images inRenaissance Art," Warburg had used amap that his wife
was an outline map
Mary had drawn, probably between 1908 and 1911 (fig. 2). It
specifically drawn to chart the routes of the images with astrological information.
then inserted dots and lines tomake visible the diffusion and direction,
Warburg
supposed
or real, of the images of these constellations traveling through time
and space.48 By the summer of 1926, immersed in his Atlas andWanderstra?en
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<-n
?
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254 German Studies Review 29/2 (2006)
Apart from the particulars of the outlines of the Mediterranean basin and
Europe, as drawn by Mary Warburg some 15 years earlier, Warburg and Saxl
needed to be clear about what developments they wanted to show. A number
of letters between Saxl andWarburg followed, in which routes were discussed.
Was "our Aratea" coming from Rome and going to Ireland or did it originate in
Alexandria or inGallia?58 Schmidt was instructed that the finished product should
not look like a geographical map, but be more schematic; what was important
to see was the overall direction of trade routes, caravan routes, sea routes.59
Max Georg Schmidt produced one map, thinking that entries for trade routes
of all periods could be accommodated on one map only.60 He sent it to Saxl
who was in London in 1928 cataloguing the large holdings of astrological and
mythological manuscripts in the library of the British Museum and elsewhere.
When Saxl received the map he immediately saw what was wrong with it:To fix
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Dorothea McEwan 255
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256 German Studies Review 29/2 (2006)
The other two maps are "The most trade routes from
captioned: important
the sixth to the twelfth centuries" and "The most important trade routes from
the twelfth to the fifteenth centuries" (fig. 6).
While Gundel was busy filling his map with far too many entries, Schmidt
mailed his map in three copies again to Saxl in London inAugust 1928, and Saxl
acknowledged them, but then mislaid them. He was "utterly desperate,"65 but did
not informWarburg right away.When Saxl did informWarburg that he could not
find the route maps?a major drama?he softened the blow by suggesting that
Schmidt should be asked to draw them again, and to take amore differentiated
timeframe into account.66 However, when Saxl returned to London in March
"Exchange" and "Social Integration." The first picture is the map of mythological
images of stars in the night sky, the second is the route map of images, the third
the family tree of an important family which traced its origins from the fifteenth
century back to classical antiquity. In this way a single research topic, family
research, exemplified its link to the general research topic of orientation.70
Thus, research into visual memory, the movement of memory,
mapping
turned into amultimedia project: it comprised the creation of charts outlining
the journey of images, superimposed onto geographical maps, the arrangements
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I I ^1
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258 German Studies Review 29/2 (2006)
x x,
UA>L..^
Figure 7: Phte A,Mnemosyne Atlas. 1930 (WIA, IE. 108.8. l).Transcription p. 263.
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Dorothea McEwan 259
Photo credits: All illustrations are from the Institute Archive of the
Warburg by permission
Director of theWarburg Institute, ? The Warburg Institute, London.
1
Aby Warburg. Tagebuch der Kulturwissenschaftlichen Bibliothek Warburg, Charlotte Schoell
Glass/Karen Michels, eds. (Berlin: Akademie 2001), 555.
Verlag,
2
Immanuel Kant, Werke, Band III, Schriften zur und Logik, Wilhelm Weischedel, ed.
Metaphysik
(Frankfurt am Main: Insel Verlag, 1958), 267: "Was hei?t: sich im Denken orientieren?"
3
Ernst Cassirer, "Formen und Formwandlungen des philosophischen
Wahrheitsbegriffs,"
in: Universit?t Reden (Hamburg: C. Boysen, 1929), 29.
Hamburgische Verlag
4
Dorothea McEwan, der Kultur. Die Aby Saxl Korrespondenz
Wanderstra?en Warburg-Fritz
1920 bis 1929 (Hamburg-M?nchen: D?lling und Galitz Verlag, 2004).
5
Fritz Saxl, "Das Nachleben der Antike. Zur Einf?hrung in die Bibliothek
Warburg,"
Hamburger Universit?tszeitung, 11/4 (1921): 245, where he used the phrase "Wanderstra?en
der Kultur"; Fritz Saxl, "Die Kulturwissenschaftliche Bibliothek in
Warburg Hamburg,"
in: Ihre Geschichte, Organisation und Ziele, L. Brauer et al, eds
Forschungsinstitute: (Hamburg:
H?rtung, 1930), 355, where he used the phrase "Wanderstra?en der Tradition," 355.
6
A.Warburg to C. Neumann (art historian), 2 0March :
1917 Warburg Institute Archive (here
after: WIA), General Correspondence (hereafter: GC): Kopierbuch (hereafter: KB) VI, 289.
7
WIA, m.1.2.3. Poster for the 60th birthday party of A. Warburg, 1926. "Germ cell of
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260 German Studies Review 29/2 (2006)
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Dorothea McEwan 261
Claudius Ptolemaeus von Muhammad ibnMusa al-Hwarizmi, Hans von Mzik, ed., with an
appendix "Ptolem?us und Agathod?mon," by Joseph Fischer, S.J., and two plates and one
Mnemosyne, Logik, Ghirlandajo" (manuscript, 1929); "Bild und Zahl als polare antichaoti
sche Funktion des Ged?chtnisses im Gesch?fte der Orientierung," 6 October 1929: WIA,
III.12.12.[45].
54
F. Saxl to A Warburg, 28 September 1927: GC: W/S.
55
A. Warburg to the architect F. Schumacher, 2 October 1927: GC.
56
A. Warburg to K Umlauf of Hamburg 13 October 1928: GC.
University,
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262 German Studies Review 29/2 (2006)
57
KBW toM.G. Schmidt, 20 March 1928: GC.
58
F. Saxl to A. Warburg, 23 March 1928: GC.
59
F Saxl toM.G. Schmidt, 22 April 1928: GC.
60 was
to A. 20 August 1928: GC.
M.G.Schmidt Warburg, The lettering done by R. Larisch
in Vienna.
61
E Saxl to A. 26 May 1928: GC: W/S.
62F Saxl toW Warburg, 14 June 1928:GC.
Gundel,
63
W. Gundel to A Warburg, 25 August 1928: GC.
64 are in italics
W. Gundel, dated 28 August 1928: WIA: IV2.1. These entries
uncaptioned,
on the list in the
appendix.
65
E Saxl toM.G.Schmidt, 29 September 1928: GC.
66
E Saxl to A. Warburg, 28 January 1929: GC: W/S.
67
E Saxl to A. Warburg, 6March 1929: GC: W/S.
68
toMax 25 March 1929: WIA: GC, WFam.
Warburg Warburg,
69
"Brief an Gisela Warburg (AbyWarburg's niece) vom 14.May 1929," Dorothea McEwan/
Martin Treml, eds., Trajekte 4/8 (2004): 4?8; Dorothea McEwan, "Gegen die 'Pioniere
der Diesseitigkeit,'" ibid.: 9-11; Eleazar L. The Ancient
Sukenik, Synagogue of Beth Alpha.
Jerusalem: University Press, 1932.
70
Claudia Wedepohl, Ein Versuch zu der
"Ideengeographie: Aby Warburgs Wanderstra?en
Kultur" the R?ume, Kulturelle um 1900 und
Proceedings of Conference "Entgrenzte Transfers
in der Gegenwart. Internationales Symposion des Spezialforschungsbereichs Modern?Wien und
um 1900." 16-18 October 2003, Graz, Mitterbauer and
Zentraleuropa University Helga
Katharina Scherke, eds. (Vienna, 2005), 227-54.
71
McEwan, "Gegen die 'Pioniere...'"; Dorothea McEwan, '"Die siegende, fliegende Idea.'
von
Ein k?nstlerischer Auftrag Aby War b?rg," in: Der Bilderatlas imWechsel der K?nste und
Medien, Sabine Flach, Inge M?nz-Koenen and Marianne Streisand, eds. (Munich: Wilhelm
Fink Verlag, Reihe Trajekte, 2005), 121-51.
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Dorothea McEwan 263
Porphyrius
Achmet, der Perser
Axine ["axe"] Abu Masr
Aben Esra
"chorda percinctus"
echte[!] teukrischer
(einheitliche [!])Archetypus
Picatrix
Bagdad?(Alexandrien)?Toledo?Padua
Orient-Express
Augsburg
N?rnberg
Hamburg
Conventionelle Grenzpf?hle der m?hsam und undenkbar
national
geographisch
technisch
Lebenskraft
u. besondere[?]
Organisch unorganisch
u.
Aufkl?rung Aberglauben
Mathematik u. Fetischismus
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4? C/5
3. ? O ON
laudiche
Symbolik
die
R?ckfall
inumfangreichere
Gec
?chtnis Wissenschaft
:w?rts Reactionsform-
r?cl
Bezeichnung
Name
Bild
Namen
Bild
Physiognomik
organisierter
Niederschlag
Kunst
Wer
Umfang
dynamische
subjective
Fragestellung
Reactionsform
Eindruck
auf
Mimik
Physiognomik
(Woher)
Urheber
Religion
gegenwartig
social
Ausgangspunkt
(Wissen) Recht
contr?re
Figure
Grundlegende
4:
Bruchst?cke
II regulirte Bewg.
dynamische
(subjectiv-objective)
Bewg{Bewegung]
Kampf
Mimik
als
R?ckseite]:
"Dein
May" (Besitz)
regulirte
Ortsbewg.
21.XI.98
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? o3 S o sI P ON
Padua
igeli
Heidelberg
[Handschrift]
hs
renzel
Ferrara
Herm?tica
Teucer
5:
Figure
in
position.
central
1911
Planispherium
Bianchini
Picatrix
Denderah
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266 German Studies Review 29/2 (2006)
people, and most importantly lines indicating the direction of diffusion of thought.
On one?uncaptioned?copy of this map, dated 28/08/1928, Wilhelm Gundel entered
additional information; theWestern European countries have relatively few handwritten
additions, the Eastern Mediterranean countries, Greece, Egypt, modern Turkey, Arab
countries, Iran, Afghanistan have very many handwritten additions. These entries are in
italics on the list below (WIA, IV. 25.2.2.4).
Fritz Saxl revised this map with many fewer entries, but, crucially, lines of direction of
diffusion of thought (WIA, IV. 25.2.2.1). The map is captioned:
"The most trade routes to the times of Alexander the Great" [broken lines],
important
"The most trade routes to the time of the Roman [continuous
important Empire"
lines].
Saxl's additions are underlined.
"The most important trade routes from the 6th to the 12th centuries." (not illustrated)
(WIA, IV 25.2.2.2).
"The most important trade routes from the 12th to the 15th centuries." (fig. 6) (WIA, IV
25.2.2.3).]
Towns and Events Entered on WIA, IV. 2.2.4).
France: Aigueperse; Avignon; Auxerre; Bordeaux; Lille; Lyon; Marseille; Paris; Tournai.
Additional: Quadius ? century AD]; Anthedhis, S.Jh.p [5th century AD, with
lV/V.Jh.[4thSth
arrow to arrow to
Lyon]; Caecilius Arborius Argicius (Haedner) 3Ajh. p.[3A century AD, with
Bordeaux]; Ausonius, AD; in the Arat Krinas [?] l.Jh.
4.Jh. p [4th century vicifiity ofAvignon];
p [1st century AD, in the vicinity ofMarseille].
Toulouse; Narbonne.
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Dorothea McEwan 267
Italy: Crot?n; Ferrara; Florenz [Florence]; Genua [Genoa]; Livorno; Mailand [Milan];
Mantua; Neapel [Naples]; Padua; Palermo; Pavia; Perugia; Pisa; Rom [Rome]; Venedig
[Venice].
Additional: 2.J.t. a.?4. Jh. p. [2nd millennium BC to 4th century AD, near Rome]; Capri, Tibul
Iraq: Babylon; Bagdad [Baghdad]; Basra; Erbil [Irbil, Sulaymaniyah]; Mossul [Mosul];
Sindschirli [Sinjalah?;Muhafazat as Sulaymaniyah];
Additional: Kidznan der Chaldaeer, 2.-3. Jh.a., vielleicht Quelle des Hipparch? [Kidznan the
Chaldeaen, 2nd/3rd century BC, possibly the source for Hipparchos?; near Erbil];
Theophil
von
Edessa urn 1-8 p, fu?t u.a.
aufKritodem, beruft sich auf die alten Aeg. [c. 7th
to 8th century, goes
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268 German Studies Review 29/2 (2006)
back among other toKritodem, quotes old Egyptian sources, near Baghdad]; Horoskop vomj. 142
v. Chr. (vielleicht schon griech. R?ck...) written in 142 BC, Greek
[horoscope possibly already
...
[tear in paper, rest illegible, arrow pointing to
Babylon]; Seleukos aus Babylon,
Diogenes
aus
Seleukia am Tikris Seleukia on lokier, stoischer a.
[Diogenes from Tigris]; Philosoph 2Jh. [Stoic
philosopher, 2nd century BC].
Teheran]. Susa [in southwestern Iran, modern Shush]; Oum [Oimis, Damghan].
Balch
[Balkh; Paktra, Bactria, near modern Mazar-i-Sharif; Northern
Afghanistan:
Province of Afghanistan]; Kab.[ul]; Herat.
Israel: Jerusalem
Egypt: Akhmim [Upper Egypt, East bank of theNile, opposite Sohag] Alexandria;
; Aswan;
Denderah [Dendara, Tentyra, Upper Egypt]; Edfu [Between Aswan and Luxor, Upper
Elefantine island in the river Nile in the Aswan area]; Theben
Egypt]; [Elephantine,
[Thebes, Upper Egypt].
Additional: Hypsikles, [2nd century BC, near Alexandria];
2Jh.a Heliopolis: hier studiert Solon,
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