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<b>A deft reinterpretation of the most zealously interpreted picture in the Western canon as a therapeutic artifact.</b><br /><br />Albrecht Dürer's famous portrayal of creative effort in paralysis, the unsurpassed masterpiece of copperplate engraving titled <em>Melencolia I</em>, has stood for centuries as a pictorial summa of knowledge about the melancholic temperament, a dense allegory of the limits of earthbound arts and sciences and the impossibility of attaining perfection. Dubbed the “image of images” for being the most zealously interpreted picture in the Western canon, <em>Melencolia I</em> also presides over the origins of modern iconology, art history's own science of meaning. Yet we are left with a clutter of mutually contradictory theories, a historiographic ruin that confirms the mood of its object. In <em>Perfection's Therapy</em>, Mitchell Merback reopens the case file and argues for a hidden intentionality in <em>Melencolia</em>'s opacity, its structural “chaos,” and i