Journal of the Warburg Institute最新文献

{"title":"The Literary Sources of the 'Finiguerra Planets'","authors":"F. Saxl","doi":"10.2307/750031","DOIUrl":"https://doi.org/10.2307/750031","url":null,"abstract":"Saints in whose honour the portable altar was dedicated and whose names appear on the back. 'Bernardus' is by no means a misspelling for 'Bernwardus'; in fact, the portrait represents Bishop Bernard I ( 1301153), who founded the Benedictine abbey of St. Godehard and here enjoyed veneration as a Saint. It remains to explain the dedicatory inscription of \"Thidericus abbas tertius.\" The difficulty which puzzled Labarte and Goldschmidt is easily overcome by interpreting it, not as \"Thierry the Third, Abbot of...,\" but as \"Thierry, third Abbot of....\" As a matter of fact, the Abbots of St. Godehard's, Hildesheim, used to number themselves according to their respective place in the succession of abbots from the foundation of the abbey onward. Thus the first three abbots were called 'Fridericus abbas primus' (ca. I 40o-ca. I 55), 'Arnoldus abbas secundus' (ca. 1155-1181), and 'Thidericus abbas tertius' (I18I-1204) respectively. This date and place of the portable altar fit in with the detailed description given by Georg Swarzenski of the artistic activities in Saxony during the second half of the I2th century.' Swarzenski had already a reason for mentioning the Abbey of St. Godehard as a place where works of art were appreciated : Frederick, its first abbot, commissioned a precious book cover at the studio where goldsmiths, scribes and other artists worked for Henry the Lion (1142I 195), the Bishops of Hildesheim, and other lords spiritual and temporal.2 This portable altar, too, we may conclude, originated with the same monks of Helmarshausen, or, to make allowance for the objections raised by one or two of Swarzenski's critics, of Hildesheim or Brunswick. These artists combined the old craftsmanship of Saxony, which had flourished ever since the time of Bishop Bernward (996-IO22), with the fresh suggestions imported from Byzantium after the crusade of Duke Henry, in I I72,3 and from Winchester after Henry's marriage with Princess Matilda, daughter of King Henry II of England, in Ix68. To return once more to the recent history of the altar, we may even suggest an explanation of how it came into private ownership. Count Renesse-Breidbach, its first owner at the beginning of the I9th century, was a Privy Councillor of the Archbishop of Treves.4 It was to Treves Cathedral that","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123732187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"'Adamas Mourned by the Nymphs' in Schedel's 'Liber Antiquitatum'","authors":"Alice Wolf","doi":"10.2307/750035","DOIUrl":"https://doi.org/10.2307/750035","url":null,"abstract":"Critics usually consider it a psychological finesse of Michelangelo that the quiet and motionless grief of his Madonna in St. Peter's is contrasted with the 'speaking' gesture of her left hand.' Astounding though it may seem, it has never been noticed that the four fingers of this hand are not by the master. This is not only clearly visible in the original, but it is also confirmed by a document, which states that they were made in 1736 by GiuseppeLironi: \"2o December 1736. Scudi 9 moneta per tant' importa un suo conto di aver rifatto le quattro dita alla mano sinistra della Maria SS.ma della PietA.\"2 Engravings and replicas of the group dating from the I6th century make it possible to reconstruct the original position of the fingers.3 They were half-bent and nearer together, forming a spatial unity with the palm so that they were enclosed in the borders of the marble block. This is a gesture of resignation and submission to fate, whereas the hand as it appears to-day with the pointing forefinger has a rhetorical meaning with an appeal to the onlooker. The position and expression of the original hand was very akin to the left hand of Christ in Leonardo's Last Supper. And here we come upon one of the paradoxes of modern art criticism. Justi was the first to call attention to the resemblance of the two hands, and his observation was 'blindly' repeated by a number of other people.4 But what they were commenting upon was not the original hand of the Pieta' but the i8th century restoration. Justi and his fellow critics became victims of too good a knowledge of the High Renaissance : in identifying the hand of the Pieth with that of Leonardo's Christ they unconsciously read into the baroque movement the original self-contained gesture. R.W.","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129898494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Mediæval Formula in Kant","authors":"E. Wind","doi":"10.2307/750025","DOIUrl":"https://doi.org/10.2307/750025","url":null,"abstract":"t is generally admitted, even by loyal Kantians, that the methods of classification employed by Kant owe much to the scholastic tradition. Defenders of Kant have been anxious to assert that these traces of scholastic terminology affect merely the external form of Kant's presentation and do not penetrate to the centre of his thought. But distinctions between surface and depth are always pernicious in intellectual matters; and it is neither a correct nor a very flattering reflection on Kant to claim that the form and the spirit can be separated in his arguments without detriment to their meaning. Actually, if we were to leave out from Kant's writings those parts which are strikingly medieval in form, we should have to omit even one passage which is generally -and justly-regarded as one of his most characteristically personal expressions. In discussing the three metaphysical questions which, according to his system, are insoluble as problems but indispensable as guides -\"God, Freedom, and Immortality\"-he summarizes them in a formula which appears to be distinctly eighteenth century, Prussian, and Protestant :","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"488 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121584125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Arts in the Latin Kingdom of Jerusalem","authors":"T. Boase","doi":"10.2307/750021","DOIUrl":"https://doi.org/10.2307/750021","url":null,"abstract":"In I883 Prutz published his lengthy Kulturgeschichte der Kreuzziige. Since Wilken's pioneer work in 1807, the history of the crusades and the mediaeval Levant had been industriously rewritten. Michaud had added the full romantic flavour and further study of the Arab authorities, Heyd had defined the economic background in his Geschichte des Levantehandels. Prutz sought to add an exhaustive account of the thought and manners of the Latin kingdom, and his book is an interesting example of the methods of his time. The greater part of it is concerned with a comparative examination of Christianity and Mohammedanism as the background of the two civilizations, and the effect of such differing premises on the general structure of society. He saw clearly some of the points where crusader and Arab most misconceived one another, and he searched the written evidence skilfully for examples. The visual arts receive only a brief treatment. The scheme of the book had taken form when Prutz was attacking a fantastic attempt to find Barbarossa's bones in Tyre, and he was sceptical about archaeological results and the attribution of dates and authorship to Syrian ruins. The mind of man as reflected in his handicraft was still in 1883 a comparatively obscure subject of study, and one which a Kulturgeschichte could deal with in some twenty pages out of its quota of six hundred and forty two. De Vogifi had published in I86o his Eglises de la Terre Sainte and Rey in 1871 his Architecture Militaire des Croises en Syrie, books which mark the transition from travellers' accounts to systematic investigation; but photography had not as yet developed sufficiently to provide readily filed data; and much of the evidence was still inaccessible, forbidden to Christians as was the Haram El-Khalil at Hebron, or dangerously remote and brigand-infested. Even under these conditions much valuable work was done in the early years of this century,1 but it was not till the French and British mandates were established that","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131292954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Portable Altar in the British Museum","authors":"S. Steinberg","doi":"10.2307/750030","DOIUrl":"https://doi.org/10.2307/750030","url":null,"abstract":"","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129682519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Seal of St. Nectan","authors":"F. Wormald","doi":"10.2307/750029","DOIUrl":"https://doi.org/10.2307/750029","url":null,"abstract":"","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116728465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Master of Animals","authors":"R. Hinks","doi":"10.2307/749988","DOIUrl":"https://doi.org/10.2307/749988","url":null,"abstract":"Among the bronzes from the Payne Knight collection in the British Museum is a small openwork relief representing a kneeling frontal figure, male and bearded, between a pair of seated griffins arranged heraldically to right and left (P1. 35a).x The kneeling personage wears a tunic with tight-fitting sleeves which reach to the wrists, and over his left shoulder a skin which hangs in a point in front and down the sides, but leaves the thighs bare. In his hands he grasps the tails of the griffins, who raise their forepaws and turn their heads towards him. The griffin on the left has the head of an eagle, that on the right the head of a lion: in other words, they are respectively of the Greek and Persian types.2 Although this piece is not unknown, its archaological and mythographical interest have not hitherto been recognized. The main points requiring elucidation are the meaning of the motif, the identity of the personage represented, and the date and stylistic affinities of the object. It will be convenient to treat them in this order. First the motif: the heraldic scheme and the action of the central figure in grasping the tails of the griffins at once suggest that he is a male counterpart of the n6rcv 0-p\"v, a 'master of animals.' Although abundant in the East from a very early period,3 and although not infrequent in Minoan and Mycenaean times,4 it is much less common in Greek art, at any rate after the archaic period.5 The late Mycenaean type found on the gold ornament from the Aegina Treasure 6 (P1. 35b) reappears on some of the ivory plaques from the sanctuary of Artemis Orthia at Sparta7 (P1. 35c) : the winged Master of Animals strides along, holding a bird in each hand; or, unwinged, clasps a pair of confronted griffins by their necks. After the seventh century, the date of the Spartan ivories, the motif disappears for a time in the explicitly antithetical form derived from the orient; though a reminiscence of it may be detected in the common late","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121827453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Goethe's 'Zueignung' and Benivieni's 'Amore'","authors":"E. Gombrich","doi":"10.2307/750000","DOIUrl":"https://doi.org/10.2307/750000","url":null,"abstract":"When it falls to the present-day historian to record the dependence of a great man on the work of a predecessor it is fortunately no longer necessary for him to assert apologetically that this fact \"in no way diminishes the greatness of his genius\" : as though the task of the literary critic were merely to detect who was 'copying,' and to award appropriate marks. The curiously romantic conception of genius in the nineteenth century allowed of the incorporation into the critical work of the period of every biographical experience, while denying that cultural experience could legitimately be used in creation. Thus, it has long since been agreed that the figure of Truth who in Goethe's 'Zueignung' hands him the veils of poesy was in private life known by the name of Charlotte von Stein ; but no voice in the massed chorus of Goethe literature seems to have asked whether there is any relationship between this figure of Truth and a certain 'leggiadra e bella donna' whose glamour and grace are celebrated in the allegorical neo-platonic stanzas of Girolamo Benivieni, the friend of Lorenzo de' Medici and Politian, who later became the disciple of Savonarola. Benivieni's poem was an attempt in the style of Lorenzo's Selve d'amore.1 It begins with a beautiful description of nature :","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121912956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Six Days of Creation in a Twelfth Century Manuscript","authors":"Adelheid Heimann","doi":"10.2307/749990","DOIUrl":"https://doi.org/10.2307/749990","url":null,"abstract":"Catalogued as Ms. number I in the Bibliotheque Municipale at Verdun is a volume which comes from the same town and contains local chronicles and lives of the saints.' Apart from a few initials, the only ornament of the manuscript is a frontispiece (fol. Ir),2 the whole of which is taken up by a pictorial representation without accompanying or explanatory text (P1. 37a). From its style the manuscript can be dated about I Ioo. The closest parallels to it which I can quote are the illustrations to the Bible of Saint B&nigne, executed between I077 and 111 2. The miniature contains many unusual features which will be made clear by a detailed description. But in describing it we shall be compelled to presuppose the actual explanation. Afterwards we shall consider the formal analogies and parallel cases which led to this explanation and which confirm it. Among the familiar elements in the design the most evident are the four heads in the corners representing the Winds ; beside these are the four Seasons, but arranged in an unusual order. In the bottom left corner is Winter, warming his hands at a fire; in the bottom right corner, Spring cutting the vine tendrils ; at the top on the left Summer, naked except for a cloak across his shoulders, and holding in each hand a bushy branch ; at the top on the right Autumn, and beside him a branch of vine with grapes on it. This arrangement is peculiar, because it follows neither the usual order-Spring, Summer, Autumn, Winter-nor the usual division into contrasted pairs-Summer and Winter, Spring and Autumn. Instead it pairs off, apparently arbitrarily, Winter with Spring, and Summer with Autumn. The key to this unexpected disposition is to be found in the two figures enclosed in circles which occupy the spaces between the Seasons. At the bottom stands a woman, with her head and hands completely covered by a dark mantle, who represents Tenebrae; at the top is a man holding a light in his hands, standing for Lux. Now the order of the Seasons becomes comprehensible, for it was evidently determined by this juxtaposition. Winter and Spring stand beside Tenebrae; Summer and Autumn flank Lux. The longest night marks the transition from Winter to Spring, the longest day the transition from Summer to Autumn. The figures of the Winds and the Seasons fill in the corners round a central circular composition. One would expect to find in the middle something like Annus, in a circle divided into twelve parts containing the signs","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128130312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mary in the Burning Bush: Nicolas Froment's Triptych at Aix-en-Provence","authors":"E. Harris","doi":"10.2307/749992","DOIUrl":"https://doi.org/10.2307/749992","url":null,"abstract":"n the third chapter of Exodus it is narrated that the Angel of the Lord appeared to Moses \"in a flame of fire out of the midst of a bush: and he looked, and, behold, the bush burned with fire, and the bush was not consumed.\" According to mediaeval typology the 'Burning Bush' is a symbol of the Virginity of Mary. The miracle of the bush which burned but was not consumed by the flames is likened to the Virgin who conceived by the Holy Ghost without being consumed by the flames of concupiscence. Literary analogies of the 'Burning Bush' with the Immaculate Conception are already frequent in the works of the Church Fathers.1 Since the early Middle Ages this is an ever recurring subject of ecclesiastical poetry. In hymns from the tenth down to the sixteenth century the 'Burning Bush' occurs again and again-with astonishing variations in wording but absolutely constant in its symbolism.2 It is only natural, therefore, that it should also appear in the popular typological works of the late Middle Ages: the Biblia Pauperum and the Speculum Humanae Salvationis. In the Biblia Pauperum, the scenes 'Moses and the Burning Bush' and 'Aaron's Rod'-another Old Testament symbol of Virginity-flank the 'Nativity of Christ,' and in the Speculum the 'Burning Bush' appears as the prototype of the 'Annunciation.' Nicolas Froment's triptych in the Cathedral of Aix-en-Provence (P1. 41, 42a) has long been known to belong to this mystical tradition. But an unusual and rather puzzling feature is here introduced: instead of the figure of God or His angel, the Virgin herself with the child appears in the burning bush, while God the Father is shown, as a half-figure, surrounded by angels, in a curved panel above the central scene.3 From the first, there cannot be any doubt that this is an 'emblematic' picture in which not a single detail is accidental. Therefore, it is not only enough to indicate in the customary way the general trend of thought to which it belongs. Nor do the observations which follow suffice, as we are well aware, to explain the picture completely. But they may at least help to overcome the vagueness from which the interpretation has hitherto suffered.","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124691755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}