On Subject and Not-Subject in Italian Renaissance Pictures

Abstract

NO technique of research in Renaissance art has recently had more success—or more deserved it—than iconology. This is a method of study which we may agree to define by its general practice, rather than by the more complex statement of its best-known proponent,1 as the investigation of the meanings of a work of art, the interpretation of it by its literary or philosophical context. It is not iconography, which tends to be simply the identifying of subject matter for cataloguing purposes; pictures with the same iconography may well have different iconologies.

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