In describing the principles of psychoanalytic iconography, I follow a historical approach, pointing out that the rudiments of such an interpretive mode are present in Freud's works on Leonardo and on the Moses of Michelangelo and reach a classical expression in Kris's paper on Messerschmidt. Some recent scholarly studies of works of art rest on the incorporation of psychoanalysis into contemporary views of the nature of man, thus permitting a level of analysis of art not previously attained. The interface between a psychoanalytic understanding of the artist's life and preoccupations and the unconscious content present in the work itself continues to offer an opportunity for refining the analytic tool as an instrument for understanding aesthetic response and creativity.