Journal of the Warburg Institute最新文献

{"title":"Charity: The Case History of a Pattern","authors":"E. Wind","doi":"10.2307/749999","DOIUrl":"https://doi.org/10.2307/749999","url":null,"abstract":"In his Reflections on British Painting, Roger Fry discussed the composition of Reynolds's portrait of Lady Cockburn and her Children (P1. 57b), and suggested that it ought to be possible to find its Italian or Flemish model.' The group of pictures reproduced on plates 54-5 7 and 59 supply a somewhat formidable answer. They show that Reynolds's composition is one of many variations of a pattern originally invented by Michelangelo. There is nothing surprising in this discovery, for Reynolds has often and proudly confessed himself an admirer and disciple of that master. In his self-portrait in Florence he carries a folder which has the inscription : \"Dissegni dell' immortal Buonarotti.\" His self-portrait in the Royal Academy shows Michelangelo's bust in the background. In his Discourses he recommends Michelangelo as the greatest model of composition, and even places his name as a memento at the end of the last page. Yet, to say (as undoubtedly we must) that the fashionable portrait of Lady Cockburn was inspired by the austere and heroic figures of Michelangelo is to state, rather than to solve, the riddle. For how could Reynolds believe that in this flattering picture of a lady with her children he was carrying on the Michelangelesque tradition? It is possible, with regard to this particular pattern, to reconstruct the entire line of descent which links the eighteenth century to the sixteenth, and connects, on the other hand, the period of Reynolds with the nineteenth and twentieth centuries. The place, in this genealogy, of Reynolds himself is not one which he filled by accident. Never has an artist chosen and defined his position more deliberately. When he planned the portrait of Lady Cockburn he was acquainted not only with Michelangelo's original group (P1. 54a) and its adaptation by Raphael (P1. 54c), but probably also with the bulk of the minor versions, many of which were diffused by prints. The chief Bolognese example, Carlo Cignani's 'Charity' (P1. 56a), now in Hampton Court, was in the possession of George III who had acquired it in 1762 from the collection of Consul Smith.2 Van Dyck's composition (P1. 57a), apart from being engraved, had found its way into English collections in no less than four different replicas.3 To see Reynolds administer this heritage is to watch his eclecticism in action. He was fully aware that the 'Michelangelesque tradition' was a series of surprising vicissitudes. He did not hesitate to add to their number by transposing a design of Michelangelo into portraiture -the one medium to which Michelangelo himself had been a stranger. To judge the full meaning of this innovation, it would be useful to survey the whole history of the particular design which Reynolds employed. But this would take a book. All that can be attempted in the confines of this essay is to select what appear to be the four most interesting episodes. 1 Roger Fry, Reflections on British Painting, 1934, P-. 54. S Cf. Collins Baker, Catalogue of Ha","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"10 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":"114305656","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":"Ruins and Echoes","authors":"E. Wind","doi":"10.2307/750016","DOIUrl":"https://doi.org/10.2307/750016","url":null,"abstract":"","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125138127","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 Isle of the Amazons: A Marvel of Travellers","authors":"Albrecht Rosenthal","doi":"10.2307/750015","DOIUrl":"https://doi.org/10.2307/750015","url":null,"abstract":"His design left its impression upon his contemporaries. It was still used in 1631 by the prolific publisher, Matthias Merian, as an illustration of Johann Ludwig Gottfried's account of the New World (Historia Antipodum oder newe Welt, p. 243). But its influence was not restricted to this sort of exploration and history book. It found its way even into a treatise of the Linn6 of the sixteenth century, the Ornithologia of Ulisse Aldrovandi (Pl. 33b). It is true, Aldrovandi classes the roc under the 'Fabulous Birds' without rejecting altogether the possibility of the bird's existence. He accepts tale quale the design of Stradanus and bases on it his ornithological criterion: \"rostrum columbinum potius, quam Aquilinum ostendit\".1 In Stradanus's engraving allegorical relations, mythology, and marvels are in the foreground although we could show that he intends to illustrate faithfully Pigafetta's report. It is this mediaeval passion for miracles and prodigies whichcaused him to depict the roc ; for actually the bird has no part in the idea of the engraving : the illustration of the discovery of the east-west straits. Of course, the roc has a number of other characteristics besides his power to overcome the elephant. The most remarkable of these features which adhere to him wherever he is mentioned from China to Greece is perhaps the report that the sun is darkened when he appears. This leads into old and deeply rooted ideas about the significance of shade, ideas which we find still alive in Christian shape in the fourteenth century. Fazio degli Ubertis in speaking of Jerusalem, says : Dove fu in croce il nostro Pelicano, Quel di che obscur6 il sol con li altri lumi.","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126738603","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":"Relics of Pagan Antiquity in Mediæval Settings","authors":"W. S. Heckscher","doi":"10.2307/750006","DOIUrl":"https://doi.org/10.2307/750006","url":null,"abstract":"T he most obvious examples of relics of Antiquity in mediaeval setting are the ancient gems and precious stones which, in spite of their pagan carvings, were used by mediaeval craftsmen for the decoration of covers of prayer-books, croziers, crosses, relic-shrines and other ecclesiastical objects; not to mention the personal seals and signet-rings of the highest dignitaries of the Church. Although the importance of the subject has frequently been stressed,x it has remained a sort of 'no man's land' between the fields of Classical Archaeology and Mediaeval History of Art. There exists, to my knowledge, no serious attempt to interpret this significant chapter of mediaeval aesthetics, which incidentally has some important bearing on the psychology of mediaeval tolerance ; for in studying the use of ancient stones in mediaeval jewellery it becomes apparent that orthodox Christianity and pagan Antiquity lived here in peaceful symbiosis. To relate this event to its general background it will be necessary first to describe in what terms mediaeval Christianity conceived of its own relation to antiquity and what general rules it consequently observed (if any) in the treatment of pagan relics. Secondly, we shall examine the particular concepts of beauty, which dictated or permitted the mediaeval appreciation of ancient gems. In the third place, we shall mention the elements of magic and superstition which entered into this appreciation. And finally, we shall give a number of detailed illustrations, which will show the process by which individual remains of pagan antiquity were incorporated in Christian settings. In dealing with the first three points it will be neither possible nor desirable to avoid reference to well-known facts and repetition of well-established theories. My indebtedness to the schools of Warburg and Konrad Burdach will be obvious-so much so, that it seems unnecessary to refer to them in every single instance.","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122955164","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 Symbol of Platonic Love in a Portrait Bust by Donatello","authors":"R. Wittkower","doi":"10.2307/750018","DOIUrl":"https://doi.org/10.2307/750018","url":null,"abstract":"believe no man is so strangely wicked as to desire to see destroyed by a conflagration or an earthquake, though he should be removed himself to the greatest distance from the danger. But suppose such a fatal accident to have happened, what numbers from all parts would crowd to behold the ruins, and amongst them many who would have been content never to have seen London in its glory ?\"1 Both Burke and Soane were high-minded men. Therefore, it did not occur to them that the same device which they associated with tragic grandeur, can be efficiently used in a spirit of wit. When the American poetess, Edna Millay, sought for a poignant expression of jealousy, she chose to address her lover as \"if he should lie a-dying.\"2 She merely furthered the tradition of wooing set by Koko:3 There's a fascination frantic In a ruin that's romantic ; Do you think you are sufficiently decayed ?","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127474961","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":"Anonymous Gods","authors":"E. Bikerman","doi":"10.2307/750004","DOIUrl":"https://doi.org/10.2307/750004","url":null,"abstract":"ANec Deo nomen quaeras. Deus nomen est--\"Seek not a name for God: his Sname is God.\" This was said by an early Christian to a pagan friend whom he wished to convert.' After sixteen centuries of monotheism the statement seems quite natural ; but when it was uttered it must have appeared to a pagan contemporary as paradoxical or completely senseless. It is as if a Scotsman to-day were to call the patron saint of Scotland, not St. Andrew, but simply \"the Saint.\" A character in Petronius remarks that the city of Cumae had more divine than human inhabitants. The same was true of more or less every town in antiquity. To invoke a deity correctly, it was essential to know his proper name. The early Christians were aware of this fact ; for when the pagan Celsus proposed that all gods were identical, whether they were called Papas or Zeus or Adonai, the Christian philosopher Origen replied that to call God \"the God of Abraham and Isaac and Jacob\" was a very different thing from translating the Hebrew titles and saying \"the God of Laughter\" (Isaac = Risus), since it is only in answer to the former invocation that God would hear and the demons obey.' Another Christian Father says: \"Anyone wishing to implore the response of a deity ought to know to whom he addresses his supplication.\"' In view of these statements, the appearance and persistence of 'anonymous gods' is one of the most puzzling problems of religious history. In the observations which follow I intend to study some of the idiosyncrasies of these nameless divinities by placing them in a particular setting: the importation and adoption of foreign gods.","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"168 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121880817","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":"Homo Platonis","authors":"Edgar Wind","doi":"10.2307/750019","DOIUrl":"https://doi.org/10.2307/750019","url":null,"abstract":"Critics, without suspecting any such connotation have often been astonished by the extreme classicism of the style of the bust, and were inclined to explain the use of the cameo as a result of a formal interest in the antique. Actually, the antique form is dictated by an antique content. The Grecian appearance and dress of the boy correspond to the Platonic ideal which he is meant to embody and which the emblem of the cameo indicates. A mediseval craftsman who introduced ancient jewels and stones into his own work meant to heighten the decorum of the work, but the addition did not alter the artistic structure (see P1. 3oa, b). Donatello, by inserting a cameo which expressed a Grecian idea, felt compelled to shape the work as a whole in accordance with this initial con-","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":" 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120834254","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 Criminal-King in a 19th Century Novel","authors":"A. Blunt","doi":"10.2307/750010","DOIUrl":"https://doi.org/10.2307/750010","url":null,"abstract":"To dismiss this startling concordance as a mere coincidence is as 'unscientific' as to explain it mysteriously as an effect of historical 'action at a distance,' for which we have no experimental proof. The simplest way to solve the riddle is to study the means by which Michelangelo extracted the ancient equation between Christ and Haman from its parodistic or blasphemous distortion. It was not by going back to a primmval event which was not possibly known in the sixteenth century, but by accepting a complicated and profound theological doctrine which established between Law and Grace so close an association that the cruel execution of the Law on a criminal could be interpreted as foreshadowing a mystery of Grace, and the co-ordination of two figures which was transmitted as parody, could appear as a secret of revelation. To rescue the tragic ritual from its parodistic disfigurement is a typical event of religious life; and if this process is twice repeated with the same figure, it is no wonder if the final symbol comes frighteningly close to the original event. In a vague sense of the word, one might call this repetition 'remembrance.' It is necessary, however, to realize that in this case the person performing the act of remembering is not the individual (for whom it is impossible, though he be the greatest genius, to remember something which he never knew), but that anonymous being, the social community, which employs his consciousness as a particularly suitable instrument to register and express its ancient memories. What may appear as 'remembrance' in the collective being must, therefore, be called 'discovery' in the individual. In the case of 'Haman and Christ,' one must also consider that the memory or discovery did not occur with primitive spontaneity, but was aroused and supported by the fully developed Christian dogma of the relation between Law and Grace. Social memory thus depended in this case (and quite certainly depends in the majority of all cases which have as complicated a theme) upon the continuance of an external tradition, which, in the form of an intellectual dogma or pictorial image, challenges the individual to explore and discover what the community tends to forget. E. W. THE CRIMINAL-KING IN A I9TH CENTURY NOVEL","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116670523","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":"'Physiologus' in Beatus Manuscripts","authors":"R. Wittkower","doi":"10.2307/750013","DOIUrl":"https://doi.org/10.2307/750013","url":null,"abstract":"","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125916233","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 Crucifixion of Haman","authors":"E. Wind","doi":"10.2307/750009","DOIUrl":"https://doi.org/10.2307/750009","url":null,"abstract":"It may be wise, in this context, to remember a warning of Nietzsche : \"Our highest wisdom will invariably-and should-sound like folly, even crime, in the ears of those not fit and predestined for it.\"' The danger of any psychological interpretation is that it might be mistaken for a rule of conduct. And who would want to encourage an attitude which would greet every fresh consignment of criminals as a welcome supply of scapegoats ? However, the danger is small in our time ; for though the worship of the criminal has increased, his use as a scapegoat has diminished. Among the more innocent of recent cases, we may remember the tributes paid to Al Capone or, an even more harmless instance, to the accused Mayor Walker. Those who saw Mayor Walker on trial report that when he left the court house in which he had been charged with the vilest misuse of public trusts, he was cheered by the crowds, and flowers were strewn on his path. The mob proclaimed with cynical candour that they would have liked the chance to \"get away with as much.\" This is the distinction of our age: The criminal-god only incites and no longer atones for the viciousness of the masses. We have reversed the procedure of our ancestors. They used to mock the criminal and then kill him. We worship him seriously-and let him live.2","PeriodicalId":410128,"journal":{"name":"Journal of the Warburg Institute","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1938-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115244343","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}