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The author approaches the theory of Georges Didi-Huberman’s effets de pan  from an artistic ( piece) and theological ( figura) perspective. The hypothesis is that through the effets de pan (a “piece” in a picture), the clinician can observe some of the dynamics at play in transference. The appearance in transference of an area similar to Didi-Huberman’s pan should not be viewed in the same way whether it occurs at the beginning or at the end of the therapy. In one case, the indefiniteness of the pan supports the subject function; in the other one, it allows an apprehension of the absence in the Other and the evacuation of the objet a at the end of the psychoanalysis.