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MELANCHOLIA, med. jur. A name given by the ancients to a species of partial intellectual mania, now more generally known by the name of monomania. (q.v.) It bore this name because it was supposed to be always attended by dejection of mind and gloomy ideas. Vide Mania.,

A Law Dictionary, Adapted to the Constitution and Laws of the United States. By John Bouvier. Published 1856.
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(11.) For a description of the work, see Balus, "Durer's Melencolia I." On Diirer's interest in mathematics and geometry as part of his perspective and conceptualization of the relationships between artist and subjects, see Andrews, "Albrecht Durer's Personal Underweysung"
Associated with Chronos-Saturn, with autumn and winter, Melencolia
"Melencolia 1" (1514) by Albrecht Durer, part of a current exhibit at the Cleveland Museum of Art
Major studies of melancholia in the visual tradition include Klibansky, Panofsky, and, Saxl's Saturo and Melancholy, prefigured in Panofsky and Saxl, Durers "Melencolia 1"; and Clair.
In conclusion, as one of the clearest examples of the meaning behind Consolo's writing of melancholy, the ekphrastic description of Albrecht Durer's Melencolia I confirms the necessity of distinguishing Consolo's works from dominant modes of postmodernist writings.
(24) Knappe's introduction offers an explication of "Melencolia's" complex symbolism.
Chapter 2 probes the influence on the romantic imagination of the figure of "melencolia" in Durer's engravings.
The unsuspecting reader could easily skip over such a seemingly unimportant detail, but it leads us back to Volpi's previous novel, El temperamento melancolico (1995), and we realize that it refers to Durer's painting Melencolia I, which contains the famous magic square.
Barzun suggests that Montaigne's motto "Que scay-je?" might be slangily translated as "Don't be too sure," reminds us while praising Hugh Trevor-Roper's Men and Ideas that history should give "pleasure and instruction," notes that Erwin Panofsky's 15 pages on Durer's famous print Melencolia are this distinguished scholar's "critical masterpiece," suggests that Moliere's Misanthrope may be "the comedy of comedies," and proclaims Bernard Shaw "the greatest master of English prose since Swift."
From the Diary of a Snail conflates fiction, autobiography, politics, and historical reality in a melange that culminates in a brilliant essay on Durer's Melencolia I.
He also indulges himself in an awkward, tenuous parallel between the "Trithemian will" and Albrecht Durer's engraving Melencolia I (248).