Aby Warburg's (1866-1929) Dots and Lines. Mapping the Diffusion of Astrological Motifs in Art History

7/29/2019 Aby Warburg's (1866-1929) Dots and Lines. Mapping the Diffusion of Astrological Motifs in Art History

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German Studies Association

Aby Warburg's (1866-1929) Dots and Lines. Mapping the Diffusion of Astrological Motifs inArt HistoryAuthor(s): Dorothea McEwanSource: German Studies Review, Vol. 29, No. 2 (May, 2006), pp. 243-268Published by: The Johns Hopkins University Press on behalf of the German Studies AssociationStable URL: http://www.jstor.org/stable/27668033 .

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Aby Warburg's (1866-1929)Dots

and Lines. Mapping the Diffusion ofAstrological Motifs inArt History

Dorothea McEwanThe Warburg Institute, University of London

Abstract: The art theorist and intellectual historian Aby Warburg made it his life's goalto 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. TheMnemosyne Atlas, a compilation of photographs to chart the development of particularsymbols and images, is one such well-known tool of orientation. Less widely known ishis quest, presented here, to understand astrological motifs and their shifting place inan evolving intellectual world view.

IntroductionThe 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 byAby Warburg on the morning of the day on which he died, 26 October 1929,adding, "my speech as incoming Rector ofHamburg University would have beencalled something like this."1While paraphrasing Kant's "What does itmean toorient oneself in thought?"2Warburg's question formulated his quest for orientation. The immediate prompt was Ernst Cassirer's inaugural lecture as Rector of

Hamburg University on 7November 1929 on "Forms and Change of Forms inthe Philosophical Concept of Truth." In it the philosopher Cassirer touched onLeopold von Ranke 's task, as an historian, to make visible the "universe of ideas."3

Warburg used the term "orientation" frequently in his research into "dieWanderstra?en der Kultur,"4 the highways of culture, the pathways of themind orintellect, andmore precisely into the "Bilderwanderung," the journey of images,literal andmetaphorical.5 Thus, despite his own insistence on being an "image or

picture historian"6 and not an "art historian," he used the label "historian" loosely,certainly not in aRankean sense of constructing linear history or histories, butin the sense of excavating those thought processes that led people to a spatialgrasp of orientation in the cosmos, not unlike a geological map, which showsstrata, rock formations, faultlines, and routes of subterranean water courses thatexist yet are invisible to the eye.A short note on Aby Warburg: Aby Warburg, 1866-1929, founder of theKulturwissenschaftliche Bibliothek Warburg inHamburg, abbreviated toKBWor 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 theUniversity of London in 1944, embodies the scholar,intellectual, visionary who went beyond narrow confines of academic life in

general and German academic institutions in particular.Trained as an art historian, he transcended the purely formal tradition ofattributing works of art to masters or schools. He tried to understand the transmission of thought, the transmission and metamorphoses of images; he calledhis endeavor the research into the "Wanderstra?en des Geistes,"8 paths tracedor taken by themind, meandering bye-ways of themind, from classical antiquityto Renaissance Europe and beyond to contemporary art. In his correspondencewith Franz Boll, the great scholar of classical philology, Warburg stressed thatthe academic summer courses in 1913, precursors of the fully fledged Hamburg

University which was only established in 1919, needed to offer lectures onlinguistics and the exchange of intellectual thought "on the significance of theworld view of classical antiquity for the culture of the present time."9

Warburg went further, he was interested in the myriad ways of expressingfascination: visual, aural, and emotional or put differently in images, language,

music, and religions. He studied the "paths taken by the mind," the stagingposts in the development of scientific thought, tracing the history of disciplineschanging color: how numerology turned into mathematics, how alchemy gavebirth to chemistry, how invocations and incantations evolved into a corpus ofreligious texts and songs, stories and literature; how astrology, through scientificobservations of the celestial sphere became astronomy. Particularly the triad of art,literature, and religion embodies for him the corpus of culture, thatwhich needsto 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'sunderstanding of the role of astrology; 2. his explanation of this role with the helpof similes likeWanderstra?en, the rotating observation tower and theMnemosyneAtlas project; and 3.Warburg's tool of the Wanderkarte.1.Warburg's Understanding of AstrologyThe research by the professor of classics atHeidelberg University, Franz Boll,into the belief in astrology in classical antiquity, published as Sphaera in 1903but commented on byWarburg only in 1908, was an eye-opener forWarburg.Some 20 years later he would explain that Boll's Sphaera was the first collectionin word and image to document "the critique of pure un-reason," a "phenomenological collection for a history and psychology of intellectual orientation."10It guided Warburg in one direction of research, the survival of pagan antiquityin an altogether different worldview, that of aChristianized Europe. How wasit possible that something which had been termed superstitious by the Churchcould surface in aChristian country? To wit, the so-called Sphaera Barb?rica, theastrological frescoes in the Salonenof the Palazzo della Ragione in Padua or inthe Palazzo Schifanoja in Ferrara.12 The Christian message had been unable toextinguish the influences of astrology, where pagan gods were believed to exert



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Dorothea McEwan 245

astral powers, as seen in tarot cards, and of magic, where people took recourse todivination by ahost of practices, using anything from everyday objects to purposecut gemstones. Warburg followed Boll in looking at astrology as representingan important development on the road to human enlightenment; it was a storeof understanding, albeit a rudimentary perception, an "Erkenntnisrudiment";13as such itwas a fertile field of expression with which Warburg documented thesurvival of ahidden classical heritage. When researching images of human passions,"Urleidenschaften," he looked at the formulae which had been created in classicalantiquity; and furthermore, he followed their journeys and metamorphoses ashe became convinced that they allowed one to draw certain conclusions aboutthe nature and contents of the memory of humankind.14A short sketch ofWarburg's preoccupation with images of planetary godsmakes us realize that this topic accompanied Warburg throughout his life. Hespoke on "TheWorld of the Gods of Antiquity and the Early Renaissance in theSouth and theNorth" in a lecture inHamburg in 190815, stressing the evidenceof the survival of the ancient gods in different guises, allegories, interpretationsof classical authors like Ovid. Further, he showed in his lecture on "Church and

Court Art at Landshut" in Bavaria in 190916 the pervasive presence of images ofplanets: they decorated afireplace in the Castle of Landshut, Southern Germany,an example of one more station on the peregrinations of images of the gods ofantiquity and their wanderlust. A lecture inHamburg in 1911, "The Journeysof the Sphaera Barb?rica''11 threw light on another stage of their journeys,preserved in the frescoes in the Sphaera Barb?rica in Salone, Padua, for whichthere is a panoply of tables, schemata, and charts inWarburg's working papers,showing origins and derivations such as a genealogical tree (fig. I, see next page)and for the first time a geographical map of theMediterranean and theMiddleEast (fig. 2) showing the journey of images with lines sketched in color.18 Thebest known of these lectures was "Italian Art and International Astrology in the

Palazzo Schifanoia, Ferrara"19 delivered at theTenth International Art HistoricalCongress in Rome in 1912. Itmarked Warburg's undisputed leadership in thisarea of research, with his interpretation of the frescoes in Palazzo Schifanoja,in particular the Decans, the gods ruling 10-day periods. (The term derivesfrom the division of the signs of the zodiac into three parts of 10 degrees each.)

Warburg called them the "missing links" between image and symbol20 and introduced his listeners to a new view of astrology, documenting the centuries-oldperegrinations of images of the planets from theMediterranean to the MiddleEast, Mesopotamia, Egypt and from there to Spain. By documenting the routean astrological image took, he could present answers concerning the influenceof classical antiquity on the artistic culture of Europe.In 1910,Warburg had met the young Viennese art historian, Fritz Saxl, whosharedWarburg's enthusiasm for the history of astrology aswell as for Rembrandt.In a telling asidemany years later Saxl remembered a conversation where Warburghad put it bluntly to Saxl that if he wanted to work forWarburg he would have



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to decide between researching astrology or researching Rembrandt?to work onboth fields was, simply, impossible.21 At that time Saxl researched a handbook ofmagic, called inArabic Gh?yat al-Hakimfi H-sihr and in Latin Picatrix, the workof the Andalusian mathematician al-Majriti [or al-Madjriti], who died c.1004.Saxl proudly reported toWarburg that he had discovered that King Maximilianowned a splendid copy o? Picatrix?1 Warburg was excited as, now that he hadfurther proof, itwould be possible to establish one more route along which ideastraveled, from the Arabs toMaximilian. To publish Picatrix was therefore animportant task, as it presented a source for the understanding of early modernoccultism.23 And indeed, the publication o? Picatrix24 was a project which wouldoccupy Warburg and his staff for many years to come.

Warburg was not interested in researching Babylonian astrology as such, butin the "practical purpose of cosmological oracular technique,"25 as exemplified bythe lectures "Classical Star Images in Renaissance Art" atHamburg Universityin 1913 (fig. 3) and "Pagan-antique Prophecy inWords and Images in the Ageof Luther" inHamburg in 1917.26The influence of Babylonian astrology could be charted by the "Wanderung,"the journey of oriental astrology. The ongoing belief in astrology27 had to beinterpreted as one that provided continuity in discontinuity, old beliefs in changing times. To understand the processes whereby it adapted to and was adopted bythe new circumstances encountered would be a contribution to understandingits modern reemergence.28 Warburg was therefore also interested in it in thesense that it presented a block to enlightenment and the "good European" hadto fight this block:29 he engaged with gusto in the unmasking of astrology asfraud, particularly in times of upheaval and war.

Thus, Warburg found it a paradigmatic example in his research into theprocesses of social memory. Looking at the images of the gods of classicalantiquity and their survival and /or resurfacing in a Christian milieu occupied

Warburg throughout his life, from his student days in the 1880s (fig. 4) to hiscorrespondence with Father Joseph Fischer, the author of the cartographic workon Ptolemy,30 in 1902 and to his final years when the topic had fanned out toembrace an investigation into the thought processes of image making and themetamorphosis of memorizing or memory, which Warburg presented in a condensed form in his Picture Atlas orMnemosyne Atlas towards the end of his life.2 .The High Roads, theMnemosyne Atlas and the Rotating ObservationTowerAstrological and cosmological images were the vehicles traveling onWarburg's"high roads" or "Wanderstra?en." As much ashe was keen on the index in a book,

which was like a compass needle pointing to a particular passage?and planned,indeed, towrite the "index of indexless books," because "the lack of indices impedesthe way to the hearts of books,"31 he was keen on a visual research tool, charts, toshow the origins of ideas and images and their journeys over vast territories andtimescales.The language andmethod used byWarburg were those of cartography.



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Dorothea McEwan 249

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Dorothea McEwan 251

Maps are used to present and process information spanning time and space tomake connections visible in a two dimensional layout. If one finds oneself in alabyrinth, one does not understand its layout, one cannot orient oneself. But seenfrom above, from a bird's eye view, paths, links, contours, bridges over obstaclesbecome visible and may be grasped intellectually.The term "Wanderstra?e" is not easily rendered into English. It obviouslygoes beyond its primary meaning, that of awalking route. It occurred in otherdisciplines that mapped developments and distributions, such as the so-calledLinguistic Atlas research,32 the Atlas ofPlants, a classification scheme followingthe naturalist Linn?,33 the Picture Atlas ofArt History^ or in the ethnologicalstudy by Adolf Bastian, The World in itsReflections in the Changing Thought of the

Peoples,ls which was accompanied by an illustrated volume that Gombrich calledan "ethnological picture book in the form of anAtlas."36 The linear investigation into the origins and spread of particular languages or plants or paintings,tracing their distinct dialects, offshoots, variations and new forms, had a longestablished counterpart in the history of art, where tracing the developmentof style was an important component of the discipline.37 A "Wanderstra?e" in

Warburg's understanding provided a path, a course for all that and more; itwasan artery along which ideas coursed, semi hidden, but vital for the health of theorganism. But ideas were not only carried in a physical sense from landmark tolandmark by traveling scholars, merchants, pilgrims and beggars. In unchartedterritories or on the high seas itwas only natural that travelers were guided bythe stars and, by extension, by a belief in the guiding properties of the stars.

In order to understand the network of arteries, in order to orient oneself, avantage point was necessary, from which to see the roads, the traffic, the movementof intellectual activity. Warburg's library was such an "observation post," as hetermed it in the famous letter to the classicist Ulrich vonWilamowitz-Moellendorffin 1924.38 In another letter he spoke of his library as "the revolving observationtower, from which the intellectual past of the Orient and the Occident can be

viewed."39 Another time he called it the "Lynceus Tower," an observation postfrom which one could view far away developments, like the Argonaut Lynceus,who was famous for his sharp eye and penetrating gaze backwards into the past.40Warburg even saw in his library an observation tower from which "the entire

trade route of culture and symbols between Asia and America could be viewed."41A pertinent Hamburg tradition with itsColonial Academy and shipping traditionwas invoked when he declared the Kulturwissenschaftliche Bibliothek Warburgto be "a tower observing the trade routes of cultural exchange,"42 scanning "ourfield of vision."43Therefore the project of the Picture orMnemosyne Atlas, "thegreat map of the movement of civilizations, or rather of ideas"44was made possible only because Warburg's library presented such a nodal or vantage point.Saxl was as excited about theAtlas project asWarburg, because itwould be inhis view "a revelation for German minds," the most important publication on theearly Renaissance since J. Burckhardt. He saw it not as a "corpus," the definitive



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treatment of a topic, but a selection which pointed in the direction that researchshould take. Itwas therefore necessary to do research in every library in Franceand Italy so that the routes along which the images traveled became clear.45Observation and memory had created pictures and stories and these were to bearranged in away that their diffusion and direction would become visible.

However, to tie down these peregrinations proved difficult. Warburg, in thefirst instance, put up mobile walls in the KBW on which he arranged photographs grouped according to topics. He pinned them up on the cloth-coveredmobile walls so that they could easily be taken down again and rearranged anew.

Warburg could choose his examples from his vast collections of several thousandphotographs and could use them as auto cues when explaining the journeys ofimages to library users, standing in front of the illustrations arranged to fit a

particular lecture topic. This ever shifting arrangement was not conducive toproducing a definitive version, a publication, and had to remain fragmentary.463. "Wanderkarte"I have explained the importance of astrology toWarburg, I have introducedyou to the terminology used byWarburg, the high roads orWanderwege, therotating observation tower and the Mnemosyne Atlas. It is now time that welook at the method Warburg employed to put these all together by employingthe tool of the "Wanderkarte."

A map presents a bird's eye view. It makes it easy to grasp large chunks ofinformation. For Warburg maps were heuristic tools, or finding aids, for hisresearch, in particular for his interest in the network of roads of ideas. He wasamapmaker, and selective like allmapmakers. His selection had a purpose, toshow the diffusion of ideas.

He realized that he needed specialist tools to organize thematerial, to codifymeaning. The method for providing the synoptic tool with which tomake visiblethe high roads or arteries and the work on the rotating observation towers filledwith images was what he called theWanderkarte, themap of images. Itwould be apsychogeographical tool to chart human inventiveness aswell asmemory. Itwouldshow what has remained hidden or what we would see "as if a sort of autonomousfate had blown theworks ofArat andTeukros hither and thither."47He referred totheGreek poet and astronomer Aratus whose books describing constellations werecalled Aratea inCicero's translation and illustrated inCarolingian times; Teukrosor 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

Mary had drawn, probably between 1908 and 1911 (fig. 2). Itwas an outline mapspecifically drawn to chart the routes of the images with astrological information.

Warburg then inserted dots and lines tomake visible the diffusion and direction,supposed or real, of the images of these constellations traveling through timeand space.48 By the summer of 1926, immersed in his Atlas andWanderstra?en



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?


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and exhibition research, he needed amore professionally produced map or maps.In the first instance, he contacted the economic historian Heinrich Sieveking: could he help him find printed maps of trade routes, in particular sea routesfrom Flanders to Italy, and if not, could he draw them, so thatWarburg coulduse them for his lectures?49 Sieveking replied in the negative.50 At the same time

Warburg wrote toMax Georg Schmidt, the mapmaker, whose new edition of ahistory of world trade, Geschichte desWelthandels,51 was supposed to be printed bythe publishers Joachim Perthes in the next few months.52 There was even talk of"buying" back the map from Perthes publishers if they did not publish quicklyenough and to instruct another publisher with the task.However, Schmidt couldnot revoke his contract as Perthes promised to go to print quickly.Schmidt was commissioned specifically to provide largemaps orwall charts fortwo purposes: first, for an exhibition project called "Bild und Zahl alsWerkzeuge

menschlicher Orientierung" or "Image and Number as tools of human orientation,"53 to be mounted in the new German Museum ofTechnology inMunich.54

Warburg was in consultation and negotiations with the director, Oskar vonMiller, for providing exhibition material for a history of astrology to give theproper introduction to an exhibition on the history of astronomy. This project,however, fell through, even though detailed plans had already been drawn up,and soWarburg, sure of its didactic importance, approached the Hamburg cityauthorities and was able to convince them to mount such an exhibition in theprojected planetarium inHamburg.55 To chart the history of astrology Warburgneeded maps indicating particular places of learning and commerce, where oldand new ideas collided. He saw this exhibition project as his contribution tothe education of the young, to introduce them to enlightenment, not a treasurehouse filled with curiosities.56

Secondly, Warburg also needed maps for a projected expanded edition of hisLuther article, to show the route of astrological images. Schmidt was sent eightphotographs with mapped outlines of countries and was requested to mark intrade routes.57

Apart from the particulars of the outlines of the Mediterranean basin andEurope, as drawn byMary Warburg some 15 years earlier,Warburg and Saxlneeded to be clear about what developments they wanted to show. A numberof letters between Saxl andWarburg followed, inwhich routes were discussed.Was "our Aratea" coming from Rome and going to Ireland or did it originate inAlexandria or inGallia?58 Schmidt was instructed that the finished product shouldnot look like a geographical map, but be more schematic; what was importantto see was the overall direction of trade routes, caravan routes, sea routes.59

Max Georg Schmidt produced one map, thinking that entries for trade routesof all periods could be accommodated on one map only.60 He sent it to Saxlwho was in London in 1928 cataloguing the large holdings of astrological andmythological manuscripts in the library of the British Museum and elsewhere.When Saxl received the map he immediately sawwhat was wrong with it:To fix



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Dorothea McEwan 255

and chart a diachronic movement presented considerable difficulties and to doso on one map sheet only was simply confusing.61 Saxl decided to use themap byMary Warburg and ordered multiple copies from Germany. He then proceeded

to make entries on three maps, one for each period. He entered dates, names oftowns, of people, andmost importantly lines indicating the direction of diffusionof thought. With these entries he could finish Warburg's "favorite child," as hecalled theWanderkarte.The task, he found, was not so difficult for the road networkfrom the twelfth century onwards, with the onset of the reception of images fromclassical antiquity, but was very different for the images in antiquity itself. Hetherefore requested the help ofWilhelm Gundel, a classicist and eminent scholaron the history of astrology, to chart the route astrology took from East toWest,starting with Plato, and then the route back from Alexandria and Rome, whichhe called "Hellenized antiquity," to the Orient and its further spread into Gaul.62The first of those deals with an impossibly long time span, from 500 BCto 500 AD. Gundel, enthusiastic about the commission, went to work with a

vengeance. He entered in purple ink places and events, such as the origin ofastrology, predictions of eclipses, appearances of comets and meteor showers,just as he would the horoscopes of individuals, discussing "Chaldaei" not in thesense of a people but as a collective noun for stargazers, liver oracles, end of worldprophecies, star and moon movements, calendars, mysteries; he mentioned thenames of priests, scholars and travelers in antiquity, but did not want to enterthem all on a map charting intellectual development as it would go too farand be confusing?names of people with their places of birth attached do notnecessarily mean that these places were important for their astrological studies.63The Western European countries have relatively few handwritten additions, theEastern Mediterranean countries, Greece, Egypt, modern Turkey, Arab countries,Iran, and Afghanistan have very many handwritten additions.64 It is all butunusable, and, crucially, itdoes not show any lines denoting diffusion or direction.

The historical information superimposed on a geographical map makes theinformation on themap crowded and nigh on unintelligible. Just three exampleswill suffice to demonstrate that this "map" did not work: he made an entry forHeliopolis, south of Alexandria, "here studies Solon, Pythagoras, Plato, Sadoxus,cf. [Hermann] Kees, Sechnuphis (Plato's teacher), by P.W." ["hier studiert Solon,Pythagoras, Plato, Sadoxus, cf. [Hermann] Kees, Sechnuphis (Plato's teacher)bei P.W."]; an arrow pointing to Bordeaux and explaining "Ausonius 4. Jd p."[Ausonius Decimus Magnus, Latin poet and teacher, 310P-394], and additionalinformation for Palermo "Scribonius 1Jd. aweissagte dem Tiberias sein Schicksal,starb 42 v.Chr." ["the astrologer Scribonius prophesied forTiberius an illustrious

career"].Saxl revised this map in blue, with much fewer entries, but lines of diffusionof thought, it presents a good overview of "The most important trade routesto the times of Alexander the Great" [broken lines] and "The most importanttrade routes to the time of the Roman Empire" [continuous lines].



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The other two maps are captioned: "The most important trade routes fromthe sixth to the twelfth centuries" and "The most important trade routes fromthe twelfth to the fifteenth centuries" (fig. 6).While Gundel was busy filling his map with far too many entries, Schmidtmailed his map in three copies again to Saxl inLondon inAugust 1928, and Saxlacknowledged them, but then mislaid them. He was "utterly desperate,"65 but didnot informWarburg right away.When Saxl did informWarburg that he could notfind the route maps?a major drama?he softened the blow by suggesting thatSchmidt should be asked to draw them again, and to take amore differentiatedtimeframe into account.66 However, when Saxl returned to London inMarch1929, he found them there.67To Warburg, research into memory, the overall need to find one's bearing, tounderstand one's world, to find one's guiding light, was connected with providingtools, be they the constant urgent appeals for the establishment of universityinstitutes, such as aDepartment of Archaeology inHamburg University, or bethey books, photographs and maps in his library. People in the North lacked thecompass and the direction as they had no knowledge ofMediterranean culture;the KBW as the "observation tower with the most subtle set of instruments"

was the place from which to conduct such research and a vehicle for enlightenment. He cited as a good example the importance of the reconciliation of PopePius XI and King Victor Emanuel III in Italy in 1929: it could not possibly beunderstood inHamburg, because it did not know anything of Catholicism.He was convinced that his method and instruments were right. They hadglobal character and application as exemplified by a "brilliant discovery" whichSaxl had made and which would attract the greatest admiration.68The "discovery" was the floor mosaic in Beth Alpha, Palestine. The room inwhich the mosaic of astrological images was found was a lateHellenistic Jewishcult room. It was a rare example of the Jewish faith, otherwise strictly given tonon-visual, non-literal representations, but using astrological images. Scholarshiptoday is still divided on how to interpret this.69The Wanderkarten were exhibited in the Planetarium exhibition in 1930 andtheMary Warburg map was incorporated into plate A of theMnemosyne Atlas. Itshows three pictures: (fig. 7) the representation of the sky populated by zoomorphic and anthropomorphic images of stars of 1684, the Wanderkarte and a handdrawn Tornabuoni-Medici genealogy. The pictures are captioned "Orientation,""Exchange" and "Social Integration." The first picture is themap ofmythologicalimages of stars in the night sky, the second is the route map of images, the thirdthe family tree of an important family which traced its origins from the fifteenthcentury back to classical antiquity. In this way a single research topic, familyresearch, exemplified its link to the general research topic of orientation.70

Thus, research into visual memory, mapping the movement of memory,turned into amultimedia project: it comprised the creation of charts outliningthe journey of images, superimposed onto geographical maps, the arrangements



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Figure 7:Phte A,Mnemosyne Atlas. 1930 (WIA, IE. 108.8. l).Transcription p. 263.



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Dorothea McEwan 259

of photographs on mobile walls and a projected publication in book form.Warburg, with the help of dots and lines, tried to supply the guiding principles andorientation in themaze of our intellectual heritage, away beyond the rudimentof perception called astrology, pointing to a life no longer governed by fear.Hefound it important to show people that from a vantage point even higher than atower they could see spread out below them the network of roads and understandconnections. He commissioned aGerman airmail stamp from the graphic artistOtto Heinrich Strohmeyer and supplied both sketches and caption. At long lastair travel would provide the overview method, the internationality of airspacewas like amap in outline. Itwas the synoptic medium with which to see the landand sea spread out below the onlookers and from which they would perceivethe "Wanderstra?en," the routes linking people. Strohmeyer's design was notexecuted as a stamp, but as a linocut called "Idea Vincit," which exemplified to

Warburg that the soaring aeroplane of ideas will win through and will overcomefear.71Warburg valued it somuch that he presented it to dozens of friends, familymembers, and politicians, and took itwith him to Italy where he hung itup in hishotel rooms, perhaps as a personal reminder that it is possible to conquer fear.The "routes of culture" presented aweb or net, inwhich one nodal point was

Hamburg andWarburg's library. It would have delighted him if itwould havebeen seen and used as hypertext in aworldwide web of information and symbols.

Photo credits: All illustrations are from theWarburg Institute Archive by permission of theDirector of theWarburg Institute, ? The Warburg Institute, London.1Aby Warburg. Tagebuch der Kulturwissenschaftlichen Bibliothek Warburg, Charlotte SchoellGlass/Karen Michels, eds. (Berlin: Akademie Verlag, 2001), 555.2Immanuel Kant, Werke, Band III, Schriften zurMetaphysik und Logik, Wilhelm Weischedel, ed.(Frankfurt am Main: Insel Verlag, 1958), 267: "Was hei?t: sich im Denken orientieren?"3Ernst Cassirer, "Formen und Formwandlungen des philosophischen Wahrheitsbegriffs,"in:Hamburgische Universit?t Reden (Hamburg: Verlag C. Boysen, 1929), 29.4Dorothea McEwan, Wanderstra?en der Kultur. Die Aby Warburg-Fritz Saxl Korrespondenz1920 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?ender Kultur"; Fritz Saxl, "Die Kulturwissenschaftliche Bibliothek Warburg in Hamburg,"in: Forschungsinstitute: Ihre Geschichte, Organisation und Ziele, L. Brauer et al, eds (Hamburg:H?rtung, 1930), 355, where he used the phrase "Wanderstra?en der Tradition," 355.6A.Warburg to C. Neumann (art historian), 2 0March 1917 :Warburg Institute Archive (hereafter: WIA), General Correspondence (hereafter: GC): Kopierbuch (hereafter: KB) VI, 289.7WIA, m.1.2.3. Poster for the 60th birthday party of A. Warburg, 1926. "Germ cell ofsignificant works" and "Could be better": WIA, III. 1.2.3.8A. Warburg to F Saxl, 31 December 1921 :GC: W/Saxl file (hereafter: W/S).9A. Warburg to F Boll, 20/02/1913: GC, "?ber die Bedeutung des antiken Weltbildes f?rdie Kultur der Gegenwart."10A Warburg to G. Bing, F. Saxl and C Hertz, 19March 1925: GC11Marco Bertozzi, La tirannia degli astri: gli affreschi astrologici di Palazzo Schifanoia, 2nd



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260German Studies Review 29/2 (2006)

augmented ed. (Livorno: Sillabe, 1999). Bertozzi presents an analysis of the iconography andsources (in ancient Indian, Persian, Egyptian and Greek astrology, and inMarcus Manilius'Astron?mica) of the 21 decans represented in the 1469-70 mural paintings (various artists)commissioned by Borso d'Est? in the Salone dei Mesi (Ferrara, Palazzo Schifanoia). Thestudy builds onWarburg's interpretation of the cycle, and includes (in appendix) a translation ofWarburg's 1912 essay "Italienische Kunst und internationale Astrologie im PalazzoSchifanoia zu Ferrara and a translation of Elsbeth Jaffa's study of the decans, published inthe appendix of Aby Warburg, Gesammelte Schriften (1932): Aby Warburg, The Renewal of

Pagan Antiquity, David Britt, trans. (Los Angeles: The Getty Research Institute PublicationsProgram, 1999).12Graziella Federici Vescovini confirms the dependence of the fourteeth-century frescoesupon Pietro d'Abano's (1257?c.1315) theory of astronomical images: Graziella Federici

Vescovini, "Pietro d'Abano e gli affreschi astrologici del Palazzo della Ragione di Padova,"LabyrinthosV/9 (1986): 50-75.13Personal Diary page 60, entry for 13 August 1901: WIA: III, 10.2. "Veth portraitirt, ichz?hle; die primitiven V?lker haben gegen beides abergl?ubische Abneigung; Aberglaubenist ein Erkenntnisrudiment: abgebildet werden wollen und gez?hlt werden ist ein Symptomdes Bewu?tseins der H?hepunkt?berschreitung." Warburg referred here to the Dutchpainter Jan Veth. Warburg drew up a statement of expenditure for Veth's expenses whenpainting Warburg's parents.14Eduard Rosenbaum to Richard Fick, 19 November 1929. Enclosed G. Bing's statementon the tasks of KBW and the function of a library/research institute: GC.15 "Die antike G?tterwelt und die Fr?hrenaissance im S?den und Norden," Verein f?r

Hamburgische Geschichte, 14 December 1908, Hamburg: WIA, IH-73.1.16Warburg, The Renewal, 561.17Lecture given in a group called "Kr?nzchen," in Hamburg, inWarburg's house, on 16December 1911. "Die Wanderungen der Sphaera Barb?rica": WIA, III.78.1 and IIL78.2.18WIA,IIL78.2.[21;22;24].19Warburg, The Renewal, 563-92.20Warburg to Saxl, 31 December 1921: GC: W/S.21F Saxl to PaulWarburg (banker), 5August 1926:GC: W/S.22A. Warburg toW. Ahrens (writer), 7March 1914: GC.23A. Warburg to C.H.Becker, editor of the periodical Der Islam, 16 February 1916: GC.24Orientalist Helmut Ritter, "Picatrix, ein arabisches Handbuch hellenistischer Magie," in:

Vortr?ge 1921-22, (Leipzig: B.G.Teubner, 1923), 94-124.25 "Die Planetenbilder auf der Wanderung von S?d nach Nord und ihre R?ckkehr nachItalien": WIA, III.87.2.2.26Also in the Religionswissenschaftliche Gesellschaft in Berlin in the following year,printed in the Proceedings of theHeidelberg Academy of Science in 1920. Warburg, The Renewal,597-697.27A. Warburg to F. Saxl, 11 January 1921, in which he suggested a lecture on "Zum Bild

materialienproblem des Kulturaustausches zwischen Osten und Westen" or "Das Problemder Bilderwanderung zwischen Osten und Westen von der Antike bis zum Mittelalter":GC. It was published by Fritz Saxl, "Die Bibliothek Warburg und ihr Ziel," in: Vortr?ge derBibliothek Warburg, 1, 1921-22 (Leipzig: B.G.Teubner, 1923), 1-10.28 F. Saxl to the Africanist C. F.Meinhof, 18 February 1922: GC.29Warburg, The Renewal, 586.30Joseph Fischer, Der "Deutsche Ptolem?us" aus dem Ende des XV. Jahrhunderts (um 1490)Faksimiledruck. (Strasbourg, 1910); Afrika nach der arabischen Bearbeitung der "geographike

"des



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Dorothea McEwan 261

Claudius Ptolemaeus von Muhammad ibnMusa al-Hwarizmi, Hans von Mzik, ed., with anappendix "Ptolem?us und Agathod?mon," by Joseph Fischer, S.J., and two plates and one

map of Africa (Vienna, 1916).31Warburg to Paul Flemming (historian), 24 February 1918:WIA: GC; KB VI , 360,361.32Bernhard Sch?del, Romanist atHamburg University, was working on a linguistic and dialectatlas of the languages of the Iberian Peninsula, petitioning the Wissenschaftliche Stiftungfrequently for funding for field trips, purchase of equipment, etc. As Max M. Warburg, A.

Warburg's brother and head of the bankM. M. Warburg, was amember of the committee ofthe foundation, he used to request confidential advice from Aby Warburg, which the latte,in the case of the Sprachatlas, spiked with negative comments. WIA: GC, 15 August 1915.33Carl Hoffmann, Pflanzenatlas nach dem Linn?schen System (c. 1910).34Wilhelm Tesdorpf, Bilderatlas zur Einf?hrung in die Kunstgeschichte (Esslingen a.N, 1909).35Adolf Bastian, Die Welt in ihren Spiegelungen unter dem Wandeides V?lkergedankens (Berlin,1887); comments in Ernst H. Gombrich, ^4?>y arburg. An Intellectual Biography (Leiden: E.

J. Brill, 1970), 285; with an example of the arrangement on Plate 55b.36Gombrich, Aby Warburg, 285.37O. Fischel (art historian) toW, 9 September 1928: GC.38A.Warburg toU. v.Willamowitz-Moellendorff, 2 3April 1924: GC; "Beobachtungsstelle"or "observation point."39AWarburg

to G.Herbig (classist),

20July

1924: GC; "Aussichtsdrehturm" or "revolvingobservation tower."40A. Warburg to Senator C Cohn, 6 September 1928: GC.41AWarburg, "Durchbruch nach Amerika," 4July 1927. "Wenn er [Saxl] dann zur?ckgekehrtsein wird, glaube ich sicher zu sein, dass unser Institut auch den h?chsten Anforderungerneines Beobachtungsturmes, der die ganze Wanderstra?e der Kultur und Symbole zwischen

Asien und Amerika vom hamburgischen Observatorium aus bestreicht, gewachsen w?re":WIA: 1.9.9.1 [5].42A Warburg toErichWarburg (banker), 29 June 1928:GC43A. Warburg to the classicist E. Jaff?: GC44E. Strong (a family friend) toA Warburg, 24October 1929:GC45E. Fraenkel (classicist) to A. Warburg, 24 February 1927: GC

46The collection of the different versions is in the Archive, only one of which was publishedas late as 2000: Martin Warnke/Claudia ^r'mk,Aby Warburg. Der Bilderatlas Mnemosyne (Berlin: Akademie Verlag, vol. II. 1 of Aby Warburg, Gesammelte Schriften, Studienausgabe, 2000.47P. Ruben (Hebrew scholar) to A. Warburg, 2 June 1924: GC.48Die Fixsternhimmelsbilder der Sphaera Barb?rica auf der Wanderung von Ost nachWest." 5August 1913: WIA: III.78.2 [24].49A Warburg to H. Sieveking (economic historian), 28 August 1926: GC.50H. Sieveking to A. Warburg, 2 September 1926: GC.51Max Georg Schmidt, Geschichte des Welthandels (Berlin/Leipzig: Teubner, 1928).52A. Warburg toM. G. Schmidt, 2 December 1926: GC.53A.Warburg to E Schumacher, 2 October 1927: GC. Also "Bilderwanderung bis Eckener,Mnemosyne, Logik, Ghirlandajo" (manuscript, 1929); "Bild und Zahl als polare antichaotische Funktion des Ged?chtnisses im Gesch?fte der Orientierung," 6 October 1929: WIA,

III.12.12.[45].54F. Saxl toA Warburg, 28 September 1927: GC: W/S.55A. Warburg to the architect F. Schumacher, 2 October 1927: GC.56A. Warburg toK Umlauf of Hamburg University, 13 October 1928: GC.



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57KBW toM.G. Schmidt, 20 March 1928: GC.58F. Saxl to A. Warburg, 23 March 1928: GC.59F Saxl toM.G. Schmidt, 22 April 1928: GC.60M.G.Schmidt to A. Warburg, 20 August 1928: GC. The lettering was done by R. LarischinVienna.61 E Saxl to A. Warburg, 26 May 1928: GC: W/S.62F Saxl toW Gundel, 14June 1928:GC.63W. Gundel toA Warburg, 25 August 1928: GC.64W. Gundel, uncaptioned, dated 28 August 1928: WIA: IV2.1. These entries are in italicson the list in the appendix.65E Saxl toM.G.Schmidt, 29 September 1928: GC.66E Saxl to A. Warburg, 28 January 1929: GC: W/S.67E Saxl to A. Warburg, 6March 1929: GC: W/S.68Warburg toMax Warburg, 25 March 1929: WIA: GC, WFam.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 'Pioniereder Diesseitigkeit,'" ibid.: 9-11; Eleazar L. Sukenik, The Ancient Synagogue of Beth Alpha.Jerusalem: University Press, 1932.70Claudia Wedepohl, "Ideengeographie: Ein Versuch zu Aby Warburgs Wanderstra?en derKultur" Proceedings of the Conference "Entgrenzte R?ume, Kulturelle Transfers um 1900 undin der Gegenwart. Internationales Symposion des Spezialforschungsbereichs Modern?Wien undZentraleuropa um 1900." 16-18 October 2003, University Graz, Helga Mitterbauer andKatharina Scherke, eds. (Vienna, 2005), 227-54.71McEwan, "Gegen die 'Pioniere...'"; Dorothea McEwan, '"Die siegende, fliegende Idea.'Ein k?nstlerischer Auftrag von Aby War b?rg," in: Der Bilderatlas imWechsel der K?nste und

Medien, Sabine Flach, Inge M?nz-Koenen and Marianne Streisand, eds. (Munich: WilhelmFink Verlag, Reihe Trajekte, 2005), 121-51.



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Dorothea McEwan 263

Appendix I:Transcription of Words on the Illustrations.Figure 1: Leitfossil. 1911 DekaneDer Mann mit dem Beil Der Mann mit dem StrickBianchiniPorphyriusAchmet, der PerserAxine ["axe"] Abu Masr

Aben Esra"chorda percinctus"

echte[!] teukrischer(einheitliche [!])ArchetypusPicatrix

Hbg[Hamburg] in ejus manu fascionem* incidensWien, ascionum incidentemHann. Un arma tagliante

Abano, Astrolabium Alfonso Steinbuch Wenzel hs [Handschrift]Wie wird assia* arab.[isch] ?bersetzt? (Schifanoja)

[* "fascionem" should be "ascionem," "assia" should be "ascia," "axe"]

Figure 3: "Orientexpress," Ferienkurs, 1913Bagdad?(Alexandrien)?Toledo?Padua

Orient-ExpressAugsburgN?rnbergHamburgConventionelle Grenzpf?hle der m?hsam und undenkbar

subjektiven geistigen inneren Aufkl?rung und des Tatsachengebietesnationalgeographischtechnisch

LebenskraftOrganisch u. besondere[?] unorganischAufkl?rung u. AberglaubenMathematik u. Fetischismus

imponderable h?chstens m??iglich ponderableVern?nftigkeit

Figure 4 and 5: Next two pages ?>

Figure 7: Plate A, Mnemosyne Atlas. 1930Der antike Sternenhimmel mit modernen Hinzuf?gungen nach einer holl?ndischenSternkarte.Die "Wanderstra?enkarte" des Kulturaustausches zwischen Norden?S?den, Osten

Westen.Der Stammbaum der Familie Medici.



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Figure:rundlegenderuchst?ckeI

21.XI.98

R?ckseite]:Deinay"

Reactionsformufindruck

4?

dynamischesubjectiv-objective)

alsls

contr?reBewg{Bewegung]

regulirte Bewg.

Kampfimik

regulirtertsbewg.(Besitz)

laudiche

Mimikhysiognomik

PhysiognomikBild

BildamenNameezeichnung

subjectiveragestellungdynamische

AusgangspunktWissen)

gegenwartigsocial

Recht

UrheberWoher) Religion

Umfangerorganisierteriederschlag

r?clw?rtsGecchtnis Wissenschaft

Kunst

R?ckfallniemfangreichereReactionsform-

Symbolik

C/5 3. ? OON



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Figure:eucernentralosition.911

Denderah

Herm?tica

PlanispheriumBianchini Picatrix

renzelsHandschrift]

Ferrara

igeliPaduaHeidelberg

? o3 S o s I P ON



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Appendix II: Entries on the WanderkartenThe "Wanderkarte" map, drawn by Mary Warburg, features names of towns in print.These entries are listed below. There are four copies of this map extant in theWarburg

Institute Archive with handwritten additions featuring dates, names of towns, names ofpeople, and most importantly lines indicating the direction of diffusion of thought.On one?uncaptioned?copy of this map, dated 28/08/1928, Wilhelm Gundel enteredadditional information; theWestern European countries have relatively few handwrittenadditions, the Eastern Mediterranean countries, Greece, Egypt, modern Turkey, Arabcountries, Iran, Afghanistan have very many handwritten additions. These entries are initalics on the list below (WIA, IV. 25.2.2.4).Fritz Saxl revised this map with many fewer entries, but, crucially, lines of direction ofdiffusion of thought (WIA, IV. 25.2.2.1). The map is captioned:"The most important trade routes to the times of Alexander the Great" [broken lines],"The most important trade routes to the time of the Roman Empire" [continuouslines].Saxl's additions are underlined.[The other two maps are captioned:"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, IV25.2.2.3).]

Towns and Events Entered on WIA, IV. 2.2.4).England: London; Northampton; Oxford; Sandwich.Additional: Asklepiades vonM. l.Jh. a. war lange Zeit in Brit. [1st century BC, has spent a long

time in Britain]. ?Entry crossed out.]Line going North to Ruthwell Cross. Dumfriesshire, Scotland.

The Netherlands: Amsterdam.

Belgium: Antwerpen; Br?gge [Bruges]; Mecheln [Malines].France: Aigueperse; Avignon; Auxerre; Bordeaux; Lille; Lyon; Marseille; Paris; Tournai.Additional: Quadius ? lV/V.Jh.[4thSth century AD]; Anthedhis, S.Jh.p [5th century AD, witharrow to Lyon]; Caecilius Arborius Argicius (Haedner) 3Ajh. p.[3A century AD, with arrow toBordeaux]; Ausonius, 4.Jh. p [4th century AD; in the vicifiity ofAvignon]; Arat Krinas [?] l.Jh.p [1st century AD, in the vicinity ofMarseille].Toulouse; Narbonne.

Spain: Barcelona; Cadiz; Cordoba; Coruna; Malaga; Sevilla; Toledo.Leon; Salamanca; Ermer.[ita Augustea, modern M?rida]; Caes.[araugusta, modernZaragoza]; Tarragonal Carth.[ago nova, modern Carthagena]Germany: Aichach; Augsburg; Bamberg; Berlin; Brandenburg; Erfurt; Frankfurt; Goslar;Hamburg; I la?furt;Heidelberg; Kiel; Leipzig; L?neburg; L?beck; Naumburg; N?rnberg

[Nuremberg]; Regensburg; Stendal; Stra?burg; Ulm; Weimar; Wetzlar; Wittenberg;Wolfenb?ttel; W?rzburg.Additional: Trier ?Tr?ves], Panegyr., (Igel),Anf. 3. Jh., 3.4.Jh.p.[beginning of 3rd century AD].



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Dorothea McEwan 267

Switzerland: Basel [Basle].Czech Republic: Budweis; Prag [Prague].Poland: Krakau [Cracow].Russia: Moskau [Moscow].Austria: Eggenburg; Wien [Vienna].Carnuntum.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, Tibullus; Syracus, Firmicus M.[aternus] 4.Jh.p [4th century AD]; Scribonius, 1. Jh. a, weissagt dem

Tiberias sein Schicksal, etwas 42 v. Chr., [1st century BC, foretells Tiberias sfate, c. 42 BC, withan arrow pointing to Palermo.].Greece: Athen [Athens]; Samos.Additional: Rhodos, Tiberius und Thrasyll; Kos, Berosos 3Jh a, Sch?ler Antipater undAchinapolus[3rd century BC; student ofAntipater andAchinapolus]; Harlicarnass: Scylax, Freund des Panaitios2Jh v. Chr., lie.de.die.II 88, vor ihm: Anchialus und Cassandrus [Scylax, friend of Panaitios 2ndcentury BC, before him Anchialus and Cassandrus].

Albania: [no printed entry].Additional: Apollonia, Theagetos convertiert zum Christentum [?] [converts to Christianity, nearDurazzo].Romania: [no printed entry].Sirm.[Sirmium. Sremska Mi trovica];Singid. [Singidunum, Belgrade] :Vimin[Viminacmm.

Kostolac].Cyprus: Hipparch, 2. Jh. a [2nd century BC]; Serapion; Geminus 1. Jh. a [1st centuryBC]; Paridonius.

Turkey: Boghazki?i [Boghazkoi or Bogazkale, Corum Province]; Harran [in the vicinityof Sanliurfa]; Konstantinopel [Istambul];Kyzikos [Cyzicus, in Bithynia]; Lystra [Lycaonia, South of Iconium]; Myrlea [renamed Apameia, Pontus

etBithynia province] ;icaea[Bithynia] ;Tyana [Cappadocia]; Soloi [Soloi/Pomeiopolis].

Additional: Spigenes von Byzantion (3 Jh a) studiert bei Chaldaeern; [3rd century BC, studieswith Chaldeaens]; Heraiskos 5 Jh p.Ch [5th century AD]; Parilli, Artemidor von Carion studiertbei Chaldaeern [studies with Chaldeaeans, with arrow toKyzikos]; Teneios, Kleostrat 6. Jh. a.[6th century BC, with arrow toKyzikos]; Hipparch, 2.Jh.a.geboren [born 2nd century BC, witharrow toNicaea]; Protagoras astrol. 3Jh a.,cf ccalV 150 [3rd century BC, with arrow toNicaea];

Knidos, Eudoxos 4Jh a [4th century BC]; Myndos, Apollinos [?] 2Jh [2nd century]; Kommagene,Grab des Antiochos [grave ofAntiochos].Syn. [Syneta; supposed site, west of Laodocia. Bucakk?ya]: Ancyra [Boghazkoi. formerlyKilise K?y].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 theChaldeaen, 2nd/3rd century BC, possibly the source for Hipparchos?; near Erbil]; Theophil vonEdessa 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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back among other toKritodem, quotes old Egyptian sources, near Baghdad]; Horoskop vomj. 142v. Chr. (vielleicht schon griech. R?ck...) [horoscope written in 142 BC, possibly already Greek... [tear in paper, rest illegible, arrow pointing to Babylon]; Seleukos aus Babylon, Diogenes ausSeleukia am Tikris [Diogenes from Seleukia on Tigris]; lokier, stoischer Philosoph 2Jh. a. [Stoicphilosopher, 2nd century BC].Syria: Apamea [on the outskirts of Hama] ;Dolyche [Doliche, D?l?k, northwest of Ain tab] ;Palmyra [Province of Horms].Lebanon: [no printed entry]Additional: Sidon [Sayda], Dorotheus 2. Jh. p [2nd century AD].Iran: Gundeschapur [Gundeshapur, Western Iran]; Isfahan [Isfahan Province, South of

Teheran]. Susa [in southwestern Iran, modern Shush]; Oum [Oimis, Damghan].India: Ozene [Ujjain] [Central India, on the banks of the river Shipra].

Afghanistan: Balch [Balkh; Paktra, Bactria, near modern Mazar-i-Sharif; NorthernProvince of Afghanistan]; Kab.[ul]; Herat.

Turkmenistan: [no printed entry].Merw [Margiana],Pakistan: [no printed entry].Pesch.[Peshawar, Valley in northwestern Pakistan]; River Kashg, Kabul River; RiverJarg.

Uzbekistan: [no printed entry].Buchara; Sam [Samarkand],Israel: Jerusalem

Jordan: [no printed entry].Petra; Aelana [AlAqabah].Saudi Arabia: Kufar [Qufar].Egypt: Akhmim [Upper Egypt, East bank of theNile, opposite Sohag] ; lexandria; Aswan;Denderah [Dendara, Tentyra, Upper Egypt]; Edfu [Between Aswan and Luxor, UpperEgypt]; Elefantine [Elephantine, island in the river Nile in the Aswan area]; Theben[Thebes, Upper Egypt].Additional: Hypsikles, 2Jh.a [2nd century BC, near Alexandria]; Heliopolis: hier studiert Solon,Pythagoras, Plato, Eudoxus, vgl. Kees, Sechnuphis bei P.W. [here studied Solon, Pythagoras, Plato,Eudoxus, f. Kees, Sechnuphis in P.W.]; Memphis, 4Jh. a. Plato, Eudoxus [4th century BC]; BolosvonMendes, Ende 5. Jh.a. [end of 5th century BC]; Babylon; Teukros von Babylon, ljh. a? [Teucerof Baby Ion inEgypt, 1st century BC?]; Hephaestis 4.jh.p? [4th century BC?, near Thebes]; Odapius

Thebanus 3 Jh v. Chr. [3rd century BC].

Libya: [no printed entry].Additional: Leptis. Septimius Severus * 146p.Chr. [146AD].Tunisia: [no printed entry].Aditional: Karthago. Augustin in seiner Jugend Sterndeuter [Carthage. S. Augustin was anastrologer in his youth].

Documents

Aby Warburg's (1866-1929) Dots and Lines. Mapping the Diffusion of Astrological Motifs in Art History