ABSTRACT
The first example is taken from Aby Warburg s paper delivered in 1912 on
the fifteenth-century frescoes of the Salone dei Mesi in the Palazzo Schifanoia in Ferrara.37 As Gombrich describes the event:
By all accounts, Warburg’s appearance at the Rome Congress, where he pre-
sented his interpretation of the mysterious frescoes in the Palazzo Schifanoja
[sic], was the climax of that meeting and of W arburgs public career. For these
frescoes suited his purpose of driving home once more his view of the true
meaning of the Italian Renaissance.38
