ERWIN PANOFSKY

Born: March 30, 1892 (Hanover

Died: March 14, 1968 (aged 75) Princeton, New Jersey
Occupation:
Known for:

Art historian

The definition of modern

iconography and iconology

 Three Strata of Subject Matter or

Meaning
In Studies in Iconology Panofsky details his idea
of three levels of art-historical understanding

OBJECT OF
INTERPRETATION

Primary or Natural
Subject Matter

ACT OF INTERPRETATION

EQUIPMENT FOR
INTERPRETATION

The most basic level of

understanding, this stratum
consists of perception of the
works pure form. Take, for
example, a painting of The
Last Supper. If we stopped
at this first stratum, such a
picture could only be
perceived as a painting of 13
men seated at a table. This
first level is the most basic
understanding of a work,
devoid of any added cultural
knowledge.

The
first
level
is
a
description of the factual (or
expressional), termed the
"pre-iconographic
description,"
in
which
uninterrupted subjects are
enumerated. This level does
not require any in-depth
knowledge of either the work
or its context, apart from the
ability to recognize what is
represented.

Secondary or
Conventional
subject matter
(Iconography)

This stratum goes a step further

and brings to the equation
cultural
and
iconographic
knowledge. For example, a
Western
viewer
would
understand that the painting of
13 men around a table would
represent The Last Supper.
Similarly, a representation of a
haloed man with a lion could be
interpreted as a depiction of St.
Mark.

The secondary level, iconographical

analysis, involves an understanding
of the subject matter. It "constitutes
the world of images, stories and
allegories" (Panofsky 1939, p. 14)
and requires an analysis of the pre
iconographic material, which can be
derived only from a familiarity with
and knowledge of the themes and
concepts represented. The
recognition of such themes can be
based on external sources (such as
textual material) and may be
extensive, but it is usually acquired
from familiarization with the
material.

Tertiary or
Intrinsic
Meaning or
Content
(Iconology)

This level takes into account

personal, technical, and
cultural history into the
understanding of a work. It
looks at art not as an isolated
incident, but as the product of
a historical environment.
Working in this stratum, the art
historian can ask questions like
why did the artist choose to
represent The Last Supper in
this way? or Why was St.
Mark such an important saint
to the patron of this work?
Essentially, this last stratum is
a synthesis; it is the art
historian asking "what does it
all mean?"

The third or iconographical

level is the most complicated
of the three and involves
an understanding of the
intrinsic meaning or content,
constituting the world of
"symbolical values." This
level requires "a familiarity
with the essential tendencies
of the human mind" and
attempts to place the deeper
meaning of the work (if it
exists) within the realm of the
conscious. Such deeper
meanings cannot be
immediately recognized.

 Primary or Natural Subject Matter: The most basic

level of understanding, this strata consists of
perception of the works pure form. Take, for example,
a painting of The Last Supper. If we stopped at this
first strata, such a picture could only be perceived as
a painting of 13 men seated at a table. This first level
is the most basic understanding of a work, devoid of
any added cultural knowledge.

 Secondary or Conventional subject matter

(Iconography): This strata goes a step further and
brings to the equation cultural and iconographic
knowledge. For example, a western viewer would
understand that the painting of 13 men around a
table would represent The Last Supper. Similarly,
seeing a representation of a haloed man with a
lion could be interpreted as a depiction of St.
Jerome.

 Intrinsic Meaning or Content (Iconology): This level

takes into account personal, technical, and cultural
history into the understanding of a work. It looks at
art not as an isolated incident, but as the product
of a historical environment. Working in this strata,
the art historian can ask questions like why did
the artist choose to represent The Last Supper in
this way? or Why was St. Jerome such an
important saint to the patron of this work?
Essentially, this last strata is a synthesis; it's the
art historian asking "what does it all mean?"