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Part I: Three Beginnings 1. Prologue 2. Forays into a Form Grown Wild: Setting the Stage 3. An Outline (of Things to Come) Part II: The Arabesque Revolution: Image, Script, and the Crisis of Representation 4. Metaphysics and Media Crisis 5. The Ornament of the Gaze: On Albrecht D©·urer 6. The Divine (as) Parergon 7. Ornament, Allegory, Autonomy: Winckelmann, Lessing, Goethe, Karl Philipp Moritz 8. The Disappearance of a Goddess: On Immanuel Kants Parergonality Part III: The Writing on the Wall 9. Art History Painted: Peter Corneliuss Murals for Munichs First Picture Gallery, 1827-1840 10. History as Nationalist Vision: Wilhelm Kaulbachs Murals for Berlins Neue Museum, 1847-1865 Part IV: Turning the Page 11. Philipp Otto Runges Flypaper: On Intimacy 12. The Poets Pencil: On Clemens Brentano and Achim von Arnim 13. Turning the Page: On Eugen Napoleon Neureuther Part V: Taming the Arabesque 14. The Artist as Arabesque: Wilhelm Schadow as The Modern Vasari 15. The Humorous Arabesque: From Wilhelm Schadow to Karl Leberecht Immermann and back, via Johann Baptist Sonderland 16. The Arabesques Kingdom: Adolph Schroedter and Theodor Mintrop 17. Illustration as Intervention and Parody: On Julius H©·ubner Part VI: A Symphonic Intermezzo 18. Beethoven, or the Call for Freedom in Composition: On Moritz von Schwind 19. The Laws of Form: On Seriality and Pictures Stories Part VII: A Satirical Finale 20. Contagious Laughter: On Pandemics, the Comics Birth, and Rodolphe T©·opffer 21. "Ach! Poor Venus is perdue": On Wilhelm Busch 22. The Last Acts Final Flouri