Escolar Documentos
Profissional Documentos
Cultura Documentos
New
York)
FORM PROBLEMS
OF THE
GOTHIC
BY
W.
WORRINGER
Has
the Translator
Chiefly from
G. E.
American
Collections
STECHERT &
151-155
West
25th
NEW YORK
CO.
St.
rv
NUPTIALS
SHAPLEY-RUSK
September Nineteenth
Nineteen Hundred Eighteen
basic views the present psychological investigation of style is a sequel to my earlier book, Abstrac
tion and Empathy, which in its third edition is being
its
new understanding.
Just that
is
my
thesis.
The Author
(9)
by the author.
Berne, May, 1912
The Author
(10)
CONTENTS
PAGE
15
Introduction
Aesthetic and Art Theory
Human
Art Study as
Primitive
Classical
Oriental
2.~>
Man
27
Man
35
Man
40
19
Psychology
Infinite
of Early
Melody
of
Northern Ornament
Northern Line
to the
Art of Holbein
43
52
55
64
70
The Principle
The
of Classical
Architecture
The Fortunes
of the Gothic
Form
Will
75
83
89
97-
Complete Emancipation
in the
Pure Gothic
11-
115
120
The Psychology
133
of Scholasticism
of Mysticism
137
143
The Psychology
(ID
ILLUSTRATIONS
Virgin and Child
Frontispiece
PAGE
PLATE
I.
II.
III.
Amiens Cathedral
15
30
of Paleolithic Design
Examples
A.
B.
C, D.
Designs
IV.
V.
Head
A.
Fourth Century, B. C
of Aphrodite.
36
Fifth
Century, B. C.
VI.
Late Minoan
B.
C.
Dipylon Vase
A.
B.
C.
38
44
called
VII.
VIII.
IX.
A.
B.
Gothic Gargoyle
C.
A, B.
Examples
of Interlace
Ornament.
46
Merovingian
48
C.
"Tune"
A.
Wood-Carving
with
Rotating-Wheel
Ornament.
Late Gothic
BCD.
Zoomorphic Ornament.
Merovin
Merovin
Examples
of
52
gian
X.
XI.
XII.
A.
B.
Prophet.
5r>
Engraving by Holbein
Late Gothic
Pillar.
Romanesque
C.
Square
A.
Temple
B.
Erechtheum, Athens
of
62
Neptune, Paestum
(13)
7S
14
ILLUSTBATTONS.
XIII.
XIV.
B.
88
Merovingian
C. S. Apollinare in Classe
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
XXIV.
XXV.
XXVI.
XXVII.
with
St.
Anne.
Painting by Lucas
92
Painting by AI94
Mexico Cathedral
96
Rome
A.
Notre-Dame-Du-Port, Clermont-Ferrand
B.
La Chapelle
A.
B.
Modena Cathedral
Salisbury
St.
Mesmin
Cathedral
106
110
112
A.
S.
B.
Modena Cathedral
C.
S.
D.
Ulm Cathedral
Apollinare in Classe
Ulm Cathedral
Beauvais
Ulm
98
104
Cathedral
Cathedral
A.
B.
116
...118
128
130
132
PLATE
AMIENS CATHEDRAL
I.
Introduction
historian
mind and
of
transmitted
So far
to
it
liberate
values.
canonical"
FORM PROBLEMS
16
OF THE GOTHIC.
As soon
infer
its
the
origin.
Who, however,
Who
will
will
venture
into
this
uncertain
proclaim the
right to hypotheses, to speculation? Everyone who has
suffered from the deficiencies of historical realism
ev
eryone who has felt the bitterness of the dilemma: ei
ther to rest content in a certainty which flaunts itself as
the certainty of objectivity and which in reality is to be
field?
to
method.
INTRODUCTION.
17
we
build out
FORM PROBLEMS
18
OF
THE GOTHIC.
powers"
(Simmel).
quantities.
To
intuitive
historical
TTERE
Accordingly,
we have
form
to determine the
form
will
All
And
phenomenon of
FORM PROBLEMS
20
OF THE GOTHIC.
of
the
But because
utility
be
s clear
argument.
He
lifted his
voice in vain.
avail oirrselves
terpretation
is
excluded
in
21
numerous
infinitesimally
FORM PROBLEMS
22
OF THE. GOTHIC.
of
investigation
for
the
analytical
history
of
style.
opened up.
study of
art,"
this
this
position of preeminence
which, to repeat,
it
al
ways
will
23
modern
man.
It is clear, in
any
judged negatively.
considered
filtration
of
extra-European
art
into
the
European
European
habilitation
of
art
24
FORM PROBLEMS
OF THE GOTHIC.
forms;
to do with beauty.
And
only poverty of our phraseology, behind which, in this
case, to be sure, hides a very sensible poverty of
knowledge, would make us wish to speak of a beauty
of the Gothic.
This supposed beauty of the Gothic is
a modern misunderstanding. The real greatness of the
Gothic has so little to do with our current idea of art,
which necessarily has to culminate in the concept
beautiful, that an acceptation of this word for Gothic
qualities can only lead to confusion.
Therefore, let us shake the Gothic free from any
verbal connection with aesthetic. Let us aspire through
the phychology of style to such an interpretation
of the phenomenon of Gothic art as will make the
orderly relation between the inner feeling of the Gothic
and the outer appearance of its art intelligible to us.
Then we shall have attained for the Gothic what
aesthetic has attained for the Classic.
Art Study as
Human
Psychology
the
style
variations
of
art
history,
of
sort.
an orderly
take place in the constitution of
of mankind, those variations which
in the historical development of
of philosophical systems, of views
in
cannot be
capricious, accidental
myths, of religions,
of life. As soon as
we have discovered
(25)
FORM PROBLEMS
26
out of
definite
priori
OF THE GOTHIC.
categories
of artistic,
or,
The
has found
The incessant
man
the
Primitive
T N order
man in
Man
some
reliable
units
of
measurement.
Since in its composition the Gothic
is
an extremely complicated and differentiated phe
nomenon, we can acquire standards for measuring it
only by first getting our bearings through the inves
tigation of some fundamental types of humanity.
call fundamental types of humanity those products of
historical development in which a definite and relatively
simple relation of man to outer world has been im
pressed in a clear and paradigmatic way. Such great
model examples for the history of humanity which
1
And to a somewhat
man and Oriental man, as we
liypothetically.
Classical
lesser
degree
exhibit them,
(27)
FORM PROBLEMS
28
OF THE GOTHIC.
of
of
actions
cramping,
the
instinct
depressing
re
of
self-preservation to the
sense of human insufficiency,
mankind
lives
life
of
on antithesis.
to
the
few
original
contributions passed
down
PRIMITIVE MAN.
29
FORM PROBLEMS
30
OF THE GOTHIC.
Out
values.
above
all,
God
immanence
in the
deprives him of
His
iart
all
also is
PI.ATK
EXAMPI.KS OK
PAI.KOI.ITIIIC
II.
PRIMITIVE MAN.
31
circles,
of
arranges
line,
makes
series
from
its
character
man and
his art.
him
in the variation of
FORM PROBLEMS
One need only be reminded
OF THE. GOTHIC.
oif
the analogy to
the,
forma
tion of language.
them
to his ornament,
solute
and invariable
that
and in
this
[PI. Ill,
DJ.
He
produces artis
is,
world.
Suppression of corporeal extension by means
of the translation of the dimension of depth into sur
face dimension becomes necessarily, then, the first aim
of that predilection which seeks to recoin into absolute
man even
in his
earliest
develop
Pl.ATK
A.
found
B.
TATTOOKD HKAD VASK
from TJ ecan Point. Arkansas
(U. S. National Museum. Washington.)
D.
C.
PKK-DYXASTU
K(,YI
PRIMITIVE MAN.
33
form
from
Primitive
man
is
drawing or scratching
this he does
material,
it
is
most unavoidable.
In spite of the unique suitability of surface repre
to the above-analyzed artistic intention of
primitive man, sculptural representation is not wholly
intractable for his artistic use.
Where, for the sake
of the eternal character of stone, he occupies himself
with sculpture, he attempts by means of the most
simple and unambiguous demonstration of surface re
sentation
cubic compactness, by
to life.
organic
into the
and be
34
FORM PROBLEMS
OF THE GOTHIC.
Classical
Man
HP HE
more
beautiful,
more
joyful;
but
it
loses
in
depth,
He no
world as something
great, but as
He sees in it,
FORM PROBLEMS
36
clearest
paradigm
is
OF THE GOTHIC.
Hellenic
man
in the ideal
form
mind and
sense,
which
wipes
out
all
the
original
dualism.
liv
man
ing, Classical
What
power
it
Pl.ATK IV
HKAD
OK AIMIKOIMTK.
(Museum
of
CLASSICAL MAN.
37
fate, as
man
evasive
vague,
mysticism
of
primitive
religion.
and
suous
intellectual
discernment
the
clear,
sculp
tural
quality
of the
For
ideally
its
intellectual,
non-perceptual,
supersensuous
character.
life,
impressions
he
What was
FORM PROBLEMS
38
OF
THE GOTHIC.
has
become
fine,
imposing, luxurious product.
longer feels distressed at the relativ
ity and lack of clearness in the phenomenal world, no
longer feels tormented by perception as did primitive
Classical
this
man no
his
to
empathy.
Classical
man
all
remould
it
vitality.
artistic representation
of this now conscious
Pl.ATK V.
A.
B.
M<
tr<>i>oHt(t>i
CHRYSKI.KIMIANTIXK
SNAKK GODDKSS.
LATE
.Ml.NOAN
(Museum
Fine Arts,
Boston)
of
Mitfu
um
FlI-TII
Vo
of Art. AYir
C.
Dii
(Metropolitan
("KM
I!
Y.
H.
Yi.<>N
VASK
Museum
York)
of
Art,
CLASSICAL MAN.
39
It
art
objectified
enjoyment of
memories,
man
of all dualistic
as in religion, the
realization of a felicitous state of equilibrium of soul.
self.
celebrates
in
Purged
art,
Oriental
LAS SIC AL
amounts
dental culture.
man, with
Man
his
well-tempered
mood,
He
ination.
we
ORIENTAL MAN.
41
knowledge.
In the possession of this instinctive knowledge Ori
ental man is again like primitive man. He has the
same dread of the world, the same need of deliverance
that the initial
member
But
man;
it
is
final
phase,
superior
to
all
in
contrast
to
Classical
his
The dualism
gence.
He
is
because
it
man and
life its
greatness.
The Oriental
dualistically
is clearly reflected in
is
again consciously
made
relative
42
FORM PROBLEMS
OF THE GOTHIC.
sionless line
cosmic sense
spite
We
eye
FTE.R wo have
ment of man
these
A].
In other words, the psychologist of style, who, look
ing at the mature historical Gothic, has once become
conscious of the fundamental character of the Gothic
[PI. VII,
form
(43)
FORM PROBLEMS
44
OF THE GOTHIC.
We
We
from wholly
lias
man
[Pi. II].
About the
time,
offshoot of the
Aryan
Mediterranean culture;
out in advance.
style
was
it
drops
PLATO VI.
A.
PKHSKI
SI.AYI.\<;
ITKSI
i\<;
Museum
C.
KHO.M
SKI.INTS
KI{M A
so-r \KI.KI
We
45
arc
young,
still
in
POLM PROBLEMS
46
OF THE GOTHIC.
Germanic
their
line,
it is
called intertwining
[PL VIII].
storms of race migration, we find in their graves this
unique and quite unmistakable ornament: in England,
in Spain, in North Africa, in Southern Italy, in Greece,
and in Armenia.
this sort of ornament as fol
are certain simple motives whose inter
weaving and commingling determine the character of
this ornament.
In the beginning, only the point, the
line, and the band were used, then later the curved
line, the circle, the spiral, the zig-zag, and an S-shaped
But what
ornament truly no great wealth of motives
variety is attained by the manner of their use! Now
Lamprecht describes
lows:
"There
Pl.ATK VII.
A. AMMAI. OH.XAMK.NT
KKO.M A VlKIMi SHIP
(after Gustaf-ion)
C.
B. GOTHIC GAI;OYI.K
Metropolitan Museum
of Art.
AY ir York}
passionate
There
it
47
motion."
character
is
we must
it is of extreme liveliness.
The words of
Laniprecht expressly attest tlili impression of passionate
activity and life, expressly attest the impression of a
seeking, restless perturbation in this medley of lines.
Since the line lacks all organic timbre, its expression
of life must be an expression unconnected with organic
life.
The thing is to understand the peculiar nature of
nevertheless,
We
case.
FORM PROBLEMS
48
OF THE GOTHIC.
ture
strength.
the line
verted to
new
We
how
effort.
Pi. A IK
B.
N(
FROM TIIK
OK K KIJ.S
(Library of Trinity College, Dublin)
"
C.
"Tl
B<M)K
VIII.
49
expressive
power of
line,
along
We
direction,
thrown
in,
how
the
at
FORM PROBLEMS
50
OF THE GOTHIC.
The essence
that
it
the
this statement
northern
Nevertheless, this comparison will offer us sugAs those line scrawls seem merely the re
an inner spiritual pressure, so the excitement,
the convulsiveness, the fever, of northern drawing un
questionably throws a flashlight upon the heavily op
pressed inner life of northern humanity. By this com
parison, at all events, we may make sure of the ex
pression of a spiritual unrest in northern ornament.
But what is playful line scrawling in the everyday life
of the individual is something else in the art expression
of a whole race.
In the latter case it is the longing
to be absorbed in an unnatural intensified activity of a
non-sensuous, spiritual sort one should remember in
in or
this connection the labyrinthic scholastic thinking
der to get free, in this exaltation, from the pressing sense
tities.
gestions.
lease of
51
elevated above
The
dead
line
and
abstract character.
dualism between
And
is
immediately indicated
is
evident that
organically determined lino contains beauty of
pression, while power of expression is reserved for
Tins distinction between beauty of
Gothic line.
by
this
observation.
it
the
ex
the
ex
pression and power of expression is immediately ap
plicable to the whole character of the two stylistic
phenomena of Classic and Gothic art.
The
Melody
Infinite
antithesis
THEnorthern,
of
between
Northern
Classical
ire
ornament
and
ment generally
(52)
PLATS IX.
C.
O*>AM~E>T.
LVTT GOTHIC
D.
THE
53
We
For, while
plained, by the statement of a difference.
the impression of the endless line would only be at
tained by having it really come to no visible end that
XXII].
In view of this movement converging from all sides
and vanishing upwards, the actual termination of the
movement at the extreme point of the tower is not
to be considered: the movement reechoes to infinity.
In this case the vertical accentuation offers indirectly
the symbol of endlessness which in the ornament is
Yet
its predominantly acentric quality, also.
this only applies to the general character; in detail there
nament
are exceptions.
Thus, there are a number of orna
mental motives in the north that undoubtedly have
centric character, but here, too, we can ascertain a
striking difference
For
54
FORM PROBLEMS
OF THE GOTHIC.
It
peripheral.
and restrained.
positive
ornament
is
movement
"While
in its
opposed
negative and
T HAT,
to the
Art of Holbein
the
direction of Classical
of
He
and,
it
clearly,
were
that
he
who
only
in organically turned, organically rhythmical line de
signs now, on the basis of this natural grammar,
learns to express himself more directly, more fluently,
more vividly, and more accurately. In short, the plant
is,
FORM PROBLEMS
56
OF THE GOTHIC.
sists of fanciful
natural observation.
is
drawn
Haupt says:
"The
animal world
network.
originally
were."
animal,
Pl.ATK X.
EXAMl
I.KH
MKKOVINGIAX
OF ZOOMOBPHK ORNAMKNT.
(Metropolitan Museum of Art, Xew York)
OF HOLBEIN. 57
FORM PROBLEMS
58
OF THE .GOTHIC.
bination
is
just
mere contour.
as
characteristic
line that
line
its
pursues
caricature.
of
This
oscillation
actuality
between the
inherent expression
is
clearest in
at the
perceptible form.
alike at all times
Man
:
fixing
them
in
We
TO THE,
ART OF HOLBEIN. 59
know where
work.
lizes:
it
grammar
this
is in
ornament.
way, can
sion of vitality.
expression of life.
recorded in the
organic rhythmic line of his ornament. He approaches
To him
outer objects with this ornamental idiom.
sists in this
unsparing conquest of
The form
will of Classical
all
man
is
liberating
60
FORM PROBLEMS
OF THE GOTHIC.
pression
of
actuality
phenomenal sequence.
communicated aesthetic
The following
steps in this
TO THE,
ART OF HOLBEIN.
Gl
continues
is
stage
is
relatively close.
As
in
the
as different
FORM PROBLEMS
62
OF THE GOTHIC.
and expressiveness.
That which here stands unreconciled and for our
modern eye
it.
The reproduction of actuality and
the abstract play of line reach a fusion which we owe,
as has been said, to Diirer s and Holbein s power of
produced by
perfection
unparalleled
in
all
art history.
The
quite unthinkable
purely abstract line.
is
line
power
li. J
its
no
spiritual
the
That
inseparably connected with this literary note.
only throws a more livid light on the catastrophe of the
northern Renaissance and only excuses, at the same
time, those who have revolted from an art that has
lost its ideal unity and who have sought attachment
where the
artistic will
still
knows how
to express
it
And in modern
purely formal manner.
still
the
case
is
that
only in France,
probably
Europe
which has in addition produced in its modern art a
sort of synthesis between northern spirituality and
self
in
southern sensuality.
Transcendentalism of the
Gothic
World
of
Expression
\\7 E
* *
human
history
was
bound
moderated.
which
is
not organically
(55
a broad
in the artistic
the
is
is
is
in
which dualism
artistic liberation
66
FORM PROBLEMS
OF
THE GOTHIC.
less
haughty
enon.
imposing expression.
its
most
PI.ATK XI.
A.
DKATII
A.M.
TIIK
(Museum
B.
PuopiiFrr.
CAHIHXAI..
E.NCKAVI.NC
of Fine Arts, Koaton)
LATK GOTHIC
(Metropolitan
Museum
itv
HOI.HKIX
ROM AM
i
->i.
67
stirring action
arrest their attention.
only
and strongly
.
streaming feeling
Our ancestors must have
otherwise the
been peculiarly susceptible to pathos;
construction of this poetry cannot be the true expression
of inner mood" (Lamprecht).
We therefore find that corroborated which the
character of northern ornament has already betrayed
Where the intensification of pathos dominates,
to us.
there must be inner dissonances to drown out; all pathoh
is foreijgn to the healthy soul.
Only where the soul is
denied its natural vents, only where it has not yet
found its balance, does it relieve its inner pressure in
such unnatural acceleration. Think of the extravagant
pathos of puberty, when, under stress of critical inner
adjustments, the pursuit of spiritual intoxication is
so
excessive.
indefinite
"Now,
and diffuse
so
much
is
susceptibilities
FORM PROBLEMS
68
OF THE GOTHIC.
us enough about
form will of the
Where harmony obtains between man and
Gothic.
outer world, where the inner balance is found, as in
the case of Classical man, the demand for form operates
as a demand for harmony, for fulfillment, for organic
It rounds the happy and felicitous forms,
perfection.
which correspond to the intellectual security and con
sequent inner joy of existence. Perplexed by no ob
struction, exalted by no passion for transcendency, it
expends its whole vitality within the bounds of human
organic being. A glance at Greek ornament proves it.
the
discord
that
determined
tells
the
of the soul.
It is partly his
bitter experience.
His dualistic suffering is not yet
refined into reverence. He continues to struggle against
alleviated
(il)
with
is
intensified
burdens
by
itself in
intensified
an unhealthy fantastic
activity.
un
This
fantastic
which Gothic
man
ILJOWEVER
man
little
before
the
known
(Lamprecht).
In the crude eudemonism of its general ideas north
ern religion does not differ much from other nature re
ligions. But behind this first observable eudemonism a
searching eye discovers at once the vast substratum of
ideas of dread, which germinate from dualistic discon
tent and impregnate the northern pantheon with ghosts,
specters, and spooks. There is at work here a passion for
forests"
is
common
to this
whole
NORTHERN RELIGIOUS
FEE.LING.
71
judgment,
world order, of a
fitting together
according to allotted
of the
parts of the interrelated episodes in the life
individual and of the whole 0*r/a); the caprice of the
FORM PROBLEMS
72
such as
OF THE GOTHIC.
human governments
strive to effect.
By
the
upon
this rests,
shapes.
The Homeric
We
73
it
the
old
polytheistic
ghost-like
conception
of
the
gods;
in their place
lay
in
its
systematic
elaboration.
The
of a fixed
form for
his
own transcendental
FORM PROBLEMS
V4
from
When,
echoed,
met
OF THE GOTHIC.
when
in it
a wonderfully
ject-matter,
contents,
conceptions,
higher degree,
Gothic architecture
form
are
the
real
ful
fy;
hence, they will again occupy us at length.
.Meanwhile, it is sufficient to see confirmed by the fact
of the acceptance of Christianity those judgments in
regard to the nature of northern man at which we
arrived by the one path of the psychological analysis
of the style that he manifested in his earliest art.
For the analysis permitted us to recognize the form
will which is adequate to his relationship to the outer
world and therefore determines all that he manifests in
his
life.
The
\4
VERY
ticular
responds to
to
phenomena
in
theme, the
gives us im
mediately the key that unlocks the holy of holies of
all the other Greek arts. The Greek temple, for instance,
the
it
Likewise,
we
shall
had
to say.
Every
style
will
(75)
a culmination, in
if in a culture
teems as
FORM PROBLEMS
76
OF THE GOTHIC.
of bacteria.
Now, in regard to the Gothic, if we ask
ourselves in what art or what art technique it gave off
most of its vital forces, there can be no doubt of the
answer.
only need to say the word Gothic to call
up immediately our close association of ideas of Gothic
architecture. This invariable connection of ideas between
Gothic and architecture agrees with the historical fact
that the Gothic epoch is wholly dominated by architec
ture, and that all the other arts either are directly de
We
pendent,
or, at
any
Whenever we speak
it
is
names
characteristic
that
ancient
sculpture
with
the
of its masters
And
it
may
an abstract, mechanical
THE
77
For
is
vast,
and
its possibil
of
hi 8tory_of techni q ue
je"Fisfory
logic,
how
FORM PROBLEMS
78
OF THE GOTHIC.
to the respec
tive etat
mediaeval scholastic.
If we look for the architectural member most
peculiar to Classical architecture, the column presents
itself at once [PI. XII].
The thing that gives the col
umn
function,
We
Pl.ATK XI
A.
TKMI-I.K OF
B.
NKPTCXK. PAKSTTM
ERKCHTHKI-M. ATIIKNS
T.
THE
7!>
made
directly
To
termined sense.
decisive.
We
might the
axis
we
feel
it,
direction
ing,
We
see, therefore,
represents
the
how
harmonic
the Greek
Classiral
form
will,
which
consciousness
of
FORM PROBLEMS
80
OF THE GOTHIC.
above the
Yet
aesthetically;
that
at
is, all
Greek thought,
compact,
fixed,
clear comprehensibility.
Greek art all retain the
Everything immaterial is re
sculptural quality.
and space is the thing that is really immaterial.
It is something spiritual, incomprehensible; and only
when tihe Greek mind loses its naive, sure, sculptural
quality through contact with the Orient in Hellenistic
sible
jected
ground aesthetically;
frame in .its
outer
what shows
clearly
THE
81
Greek
sensibility.
What
the
tympanum does on
a large scale
is
per
82
FORM PROBLEMS
OF THE GOTHIC.
itself too
tecture.
much from
a sublimity which
is
organic
We
The
and complementary.
That
is
by violating
material laws, but the structural laws
pass imperceptibly and without violence into the organic
laws.
Along with full emphasis of the stone and its
material laws, Classical architecture succeeds in attain
the stone and
ing,
therefore,
its
its
To emphasize
Since
tonically the adjustment of burden and power.
the essential quality of stone is weight, its architectonic
employment is built up on the law of gravity. The
primitive builder made use of the weight of stone only
(83)
84
FORM PROBLEMS
OF THE GOTHIC.
dematerialization.
If we glance at the Gothic cathedral [PI. I], we see
only a kind of petrified vertical movement in which the
In
law of gravity seems to be wholly eliminated.
contrast to the natural downward pressure of the stone,
we see only a prodigiously strong movement of forces
its
THE
his
material,
85
the
therefore, he lets
the material speak in its own right. On the contrary,
the Gothic builder approaches the stone with a desire for
;
is
is
FORM PEOBLEMS
86
OF THE GOTHIC.
as
in
intoxication.
In
the
scholasticism,
same
as
in
the
same
of the
form
will
through
many
centuries
comes out
clearly.
Yet
it
to consider scholas
of computation
As we
calculations
THE
H7
To relieve
and dissatisfaction.
needs the highest state of exaltation,
the highest quality of pathos. He builds his minsters
into infinity, not because of playful joy in construction,
dualistic
distraction
this depression he
beauty of the
Classical
finite
man;
Gothic only
in
word, not in
relation
spirit.
to
the
FORM PROBLEMS
88
OF THE GOTHIC.
Gothic that does not seem the fruit of the spirit, but
of a calculating machine.
Only modern steel construction [PI. XIII] has
brought back a certain inner understanding of the
tradition
lutely
of
new
its
PLATO XIII.
WOOLWORTII BUILDING.
NEW YOKK
The Fortunes
of the
OW
in the
We
bility
(89)
FORM PROBLEMS
90
OF THE GOTHIC.
assert
Roman
its
art.
is
PI.ATK
A.
B.
C.
S.
Ai
MKROVINCIA.N
oi.i.i.NAKi
IN
Ci
\>SK.
RAVKNNA
XIV.
91
We
judgment of
with
Woermann
can agree
some crea
some works of the
92
GOTHIC.
Pl.ATK
JriHTii
WITH
TIIK
(Metropolitan
Museum
of Art.
Xnc
IIY
XV.
Lrr.xs CKAXACII.
York)
93
his
Gothic,
Now
to endure such tension.
that economic development, world trade, urban life, and
other cultural factors are destroying the cohesion of the
FORM PROBLEMS
94
its
cultural
OF THE GOTHIC.
Art becomes
him
For
still
dress,
and as
its
Vii;ix AM)
Ciin.i)
WITH
ST.
(Metropolitan
AXXK.
Museum
PAINTING
IIY
of Art, Xeic
Ai.nitKi
York)
l.ATK
XVI.
DUREB
95
art in the
all
phenomenon
and
FOBM PROBLEMS
96
OF THE GOTHIC.
away
Finally,
my
lecture
"In
Berliner
1897).
11,
II,
The Romanesque
Style
HP HE
ornament
is
form will
from the
early Christian centuries to the late Middle Ages, must
be to vary, differentiate, and qualify the cumbersome
later development, provided that a uniform
really lies at the basis of all art production
terial
strument of expression,
in
tance.
FORM PROBLEMS
98
OF THE GOTHIC.
The
We
The Romanesque
style
means the
stylistic modifica
it
PI.ATK XVIII.
AI:I:I v
Cii
i;i
ii.
.M.vitiA
LAACII
THE ROMANESQUE
99
STYLE.
in
tradition.
We
way
condensation
of
the
of
architec
the propen
sity of Romanesque architecture for division into parts
is nothing but the Gothic need of action, which wishes
ture.
to
Romanesque
style
reshape and
differentiate
in
And
accordance
with
its
FORM PROBLEMS
100
OF THE GOTHIC.
re
places simplicity with variety. And the natural result
of such restless activity and variation is the pictorial
effect. This pictorial character is perpetuated in northern
architecture only as long as the northern form ener
gies have to continue to develop on the basis of the old
mass construction, in which the pictorial effect arises
that
Roman
style of
architecture.
The
For in
namely, superorganic structural language.
matters of construction the Romanesque style is, of
Thus,
course, subservient still to the antique scheme.
the northern form will is able to express itself only
alongside the fundamental structure of the building,
not by means of the structure, as the Gothic does. The
outlay
of
externally
THE ROMANESQUE
STYLE.
101
Baroque.
And
this overstress
is
abstract
results
FORM PROBLEMS
102
OF
THE
GOTHIC.
of material weight.
yet spoken;
consequently,
realization is
tion of effects.
inside.
first
We
Inceptive
of Classical Architecture
A NCIENT
Roman
ends
The genesis
Even
(103)
FORM PROBLEMS
104
OF THE GOTHIC.
is
apart
from
its
purely
ractical
significance
in
Pl.ATK
PAMHKON. HOMK
XIX.
103
them
form
will to utterance.
It only provokes and expedites,
therefore, what is already fore-ordained and ripe for
expression in the inner line of development. So these
FORM PROBLEMS
106
OF
THE GOTHIC.
mat
ters.
ically
For
the
treatment
whole
treatment
of the
this
It
monumental shape extremely refined technically.
did not make the advance to cross-vaulting, because
this contradicted its sense of form, which was still
But the further we go into
tinged by the antique.
central and northern France and the more the Teutonic
element counts in the population, the more we see
the cross-vault dominate, and the most, finally, in
Norman
architecture.
On
the
other hand,
how very
PLATE XX.
A.
NOTBE-DAME-DU-PORT, Cr.KKMOXT-FKKKAM
B.
MKS.MIX
to it
107
the
To be
northern form
will.
in
For,
contrast
to
the
barrel
to give the
the illusion
whole vault,
of rising
vaulting, which
direction of the
is
up
in
is
entirely undifferentiated in the
active or the passive, cross-vaulting
distinguished, therefore,
In particular,
character.
by
its
pronounced active
development went
groinmg. The first step was to em
phasize this linear mimicry by outlining the groin arches
with ribs [PI. XXI, B], which originally had no in
herent connection with the vaulting and, besides their
purpose of support, also served to reinforce the
linear expression.
The Romans, too, had already used
to
work on
this
FORM PROBLEMS
108
OF THE GOTHIC.
members, that
Now
And we
significance.
for
the
itself,
whole
how
pression
is
shall see
how
Gothic
which alone
w ith
basilica
to antique suggestion.
It may readily be seen why the northern artistic
sense found the column distasteful and preferred the
109
ically
lar,
the
function
of
of
For
is
its vital
it
no longer seems
development,
pillar
the
in a
FORM PROBLEMS
110
OF THE GOTHIC.
small.
As an example
may be
esque capital
[PI.
XI, C] in
its
clear
clear the
in
esque
It
is
style, too.
half
Gothic
scaffolding
the
Roman
of inner contradictions.
already,
half
antique
Pl.ATK
TIMMTY
A.
B.
MODKNA
nri{<
ii,
BOSTON
CATIIKDRAI.
XXI.
masses
Ill
still.
ground-plan,
the
is
international,
the style of pre
German imperial
power
its
rule.
With
Complete Emancipation
Pure Gothic
esque
in the
style,
in the Roman
steadfastly asserted their place
became independent
how they
how
selves
from
this
subjection;
hence,
the
Romanesque
restrained power.
what
Pl.ATK
SAI.ISIU
i:v C.\
in; \i
XXII
113
To
that extent
is justified
the assertion
we made
at the
FORM PROBLEMS
114
and becomes
intensified.
OF
THE GOTHIC.
English Gothic
is
more
re
Above
all, it
is
more
superficial,
T S
A the
to
and legitimate
which is already displayed in the whole series of preGothic styles and the connection of which with the
(115)
FORM PROBLEMS
116
OF
THE
.GOTHIC.
was necessary first of all to ax?commodate it to the northern form will. What re
mained in the Romanesque style after this disorgani
zation was the material as such, the material which
was non-sensualized but not yet spiritualized. Exter
tion of the material
Romanesque
We
internal spiritualization in the rib construction of crossIt was the first step into the ,Gothic proper
vaulting.
when these ribs relinquished their character as mere
mimic enchancement of expression in order to take
Pl-ATK XXIII.
A.
S.
MAKI.V M.
\<;<;IOKK.
HO.MK
nnn
4
t-
frt
I?.
MoiK\.\ CATHKDKAI.
C.
S. APOI.I.INAKK ix
CI.ASSE
D.
UI.M CATIIKHKAI
117
it
nificance.
consistency throughout.
As long as the round arch was held to, it was tech
nically difficult to vault any but square compartments.
For equal heights at the crown resulted only from equal
since this
its
the
FORM PROBLEMS
118
OF
THE GOTHIC.
the
was
to
pansion.
now
For
is
and
results
first,
PLATE XXIV.
UI.M CATHEDRAL
119
gun
120
FORM PROBLEMS
OF THE GOTHIC.
flexible,
terrestrial limitations.
And
121
We
Now
and
is
something spiritual
FORM PROBLEMS
122
OF THE .GOTHIC.
either.
we take away
if
its
Roman
When
is
freed
123
wrought
soul.
FORM PROBLEMS
124
hindrance
OF THE GOTHIC.
it
by force
an
Rebuffed on
all sides,
shattering on a thousand
meme
chose.
the profiles
pure
12f>
IP HE
Gothic cathedral is the most striking and complete representation of the mediaeval mind. Mysti
cism and scholasticism, these two great mediaeval
vital forces which generally appear incompatible op-*-
their
common
we have seen
that in the Gothic style the proper spaceenclosing factors, that is, the firm walls, have been dis
solved and the structural and aesthetic functions have
devolved upon the individual static forces of the con-
Vll
al
way
through.
We
making
128
FORM PROBLEMS
OF THE GOTHIC.
system
it
We
see
how
the heavenward
121)
is
upward movement
becomes
harsh,
purpose.
We
terior the
upward expansion
But
all
this
It
FORM PROBLEMS
130
scribed for
not break
Now
it
by the
away from
cult.
OF THE GOTHIC.
The
interior can
and
will
the altar.
cult.
formalism"
here,
capable
of
supernatural
exertions.
And
PI.ATK
Ul.M C.VTIIKDKAI,
XXVI.
131
Gothic mental
bourgeois
calm.
We
is
infinity
and
Gothic
man
The
We
132
FORM PROBLEMS
OF
THE GOTHIC.
PI.ATK
A.
PI.NXACI.K Tip OK
B.
LA SAINTK
CIIAPKI.I.K,
PAKIS.
(Metropolitan
Museum
of Art.
New
York)
XXVII.
The Psychology
CHOLASTICISM
is
Gothic architecture
of Scholasticism
in
is
of a false standard.
scholasticism are
to
pur
pose of which they did not grasp. Thus, they have only
caught at the outer purpose of scholastic thinking,
namely, at the intention of giving the system of ecclesi
astical dogmas a rational justification.
In a tone of
reproach they have declared that scholasticism did not
intend to find unknown, new truth but was satisfied
to support with reasons and prove rational the truth
already at hand, as it was contained in the theological
and philosophical system of the church which inwardly
rested upon divine manifestation, outwardly upon the
authority of Aristotle. They have said that scholasti
cism was only a handmaid of theology, that the whole
display of logical acuteness was, therefore, determined
only by the complexity o|f th)ei problem, which con
sisted precisely in bringing into touch with the intel
lect even matters of revelation and belief which eluded
direct intellectual, explanation and justification.
They
have said that that had led to the logical subtlety, to
the tortuous, sophistic dialectics of scholasticism. Peo
restless,
FORM PROBLEMS
134
OF
THE GOTHIC.
dialectics
As an
artistic structural
and architec
that
Northern
is,
of logical or else
intellect
est ability.
And
THE PSYCHOLOGY OF
SCHOLASTICISM.
135
grows
thought.
It cannot
be
said,
therefore
divine
1
,
that
the
scholastic
through intellectual
approach
knowledge. He wishes, rather, to partake of the divine
through the manner of his thinking, through this chaotic,
wishes
the
to
liverance.
links
common premise
tions of pathos.
see, therefore, that in mediaeval philosophy all
is bound to the abstract active process of thinking in
We
the
in
merged
FORM PROBLEMS
136
means
OF THE GOTHIC.
autonomous
activity.
It
is
its
abstract
its
process nothing.
Then,
ser
vile;
it
In short, it is condemned to
intellectual tracing of truth, that is, of objective
facts, just as is, in painting, the line, that once, likewise,
lived only by means of inherent expression and now un
standpoint of the object.
mere
The Psychology
of
Mysticism
AS
What
quality,
entiates
ecstasy.
into the
our investigation
CIS?)
138
FORM PROBLEMS
OF THE GOTHIC.
know
is,
THE PYSCHOLOGY
OF MYSTICISM.
139
ization.
and
has
occurred,
warmth and
that
this
intimacy.
has gained in
something entirely new
relationship
It
is
in the
of psychical ecstasy. It is an entirely new human selfconsciousness, an entirely new human pride, that deems
the poor human ego worthy to become the vessel of
God. Thus, mysticism is nothing but the belief in the
divinity of the human soul, for the soul can look upon
God only because divine itself. "The soul as microtheos,
as
God
in miniature
of
enigma
mysticism"
FORM PROBLEMS
140
OF THE GOTHIC.
With
a
human
soul
warm wave
the natural,
is
now drawn
Since
THE PYSOHOLOGY
OF MYSTICISM.
141
Hence,
it
is
ment commences
sensitive,
ment of Gothic
how
this
new
in the develop
lyrical
element
FORM PROBLEMS
142
into bloom,
OF THE GOTHIC.
to tender
macy.
expression
What
is lost in
subsides
into
grandeur
is
calligraphic
inti
gained in beauty.
T T would
this
personally natural,
is,
mass
it
it
is
modern
to
very different
hardt
in the Renaissance.
144
FORM PROBLEMS
OF
THE GOTHIC.
ity.
it
is
certainly does.
All the more the negative coloring of the word in
dividuality fits the northern process of inclividualization
as this commences with mysticism. In the north it is,
in fact, more the process of decomposition, the process
of crumbling a compact mass into countless arbitrary
145
The
man
146
FOBM PROBLEMS
OF THE GOTHIC.
And
As
up
so mightily.
The real purpose of these sketchy observations was
to lay bare the latent Gothic before the Gothic proper.
It would require another study to ascertain the latent
down
to
is
still
more dis
and who
investigation, penetrating
innermost secret cells of style phenomena may
not finally show even much northern Classicism of more
to the
modern times
, -?
&A-1*
SMI**
fflEp,
fe^
^^^^,^W^^^^,-4W^S^^2*
^ LIST
n>
CAR
6510
W613
1920
C.I
ROBA