By Marina Warner
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So it is Magritte who conŠgures the mountain as a bird, in the same way as plains- or valley-dwellers give anthropomorphic or zoomorphic names to landmarks and peaks. Looking at the picture, we follow his lead. Adding to the puzzlement, these broken shards of mirror, as in other pictures by Magritte, retain the image that had appeared through the window to be an insubstantial rešection and give it painted materiality, a kind of actuality that establishes its illusory condition as belonging to a different perceptual universe, one that could exist from another, unseen category of perceptive beings.
108 The Tanner Lectures on Human Values Figure 3. Study of a Left Foot, after Raphael (attributed to Parmigianino). (The Governing Body, Christ Church, Oxford) Although Correggio takes clouds to extremes of blissful presence that they had hardly enjoyed before, he is painting in a recognizable dialect of Christian iconography, not coining a new language. Invisibility and cloudiness form a pun or perhaps a rhyme: they both convey the condition of ineffability that the unknown and the supernatural inhabit.
And trans. , 1996); see Terry Castle, “Flournoy’s Complaint,” in London Review of Books, May 23, 1996, pp. 6–7. 41 Flournoy, Des Indes, p. 155. 124 The Tanner Lectures on Human Values In Paris, in the 1890s, Reichenbach’s investigation of the Od or vital force inspired another enraptured experimenter, the doctor Hippolyte Baraduc, to tap psychic energies and record them in an exquisite series of Epreuves or Proofs (in the double sense of trial and conŠrmation). His Šrst book, published in Paris in 1896, appeared in 1913 in an English version, The Human Soul: Its Movements, Its Lights, and the Iconography of the Fluidic Invisible.