Documente Academic
Documente Profesional
Documente Cultură
GOTHIC
BY
W. WORRINGER
NEW YORK
rv
NUPTIALS
SHAPLEY-RUSK
September Nineteenth
Nineteen Hundred Eighteen
Preface to the First Edition
(9)
Preface to the Second and Third Editions
(10)
CONTENTS
PAGE
Introduction 15
Aesthetic and Art Theory 19
Art Study as Human Psychology 2.~>
Primitive Man 27
Classical Man 35
Oriental Man 40
The Latent Gothic of Early Northern Ornament 43
The Infinite Melody of Northern Line 52
From Animal Ornament to the Art of Holbein 55
Transcendentalism of the Gothic World of Expression 64
Northern Religious Feeling 70
The Principle of Classical Architecture 75
The Principle of Gothic Architecture 83
The Fortunes of the Gothic Form Will 89
The Romanesque Style 97-
Inceptive Emancipation from the Principle of Classical Architecture 103
Complete Emancipation in the Pure Gothic 11-
Interior Construction of the Cathedral 115
Exterior Construction of the Cathedral 120
The Psychology of Scholasticism 133
The Psychology of Mysticism 137
Individuality and Personality 143
(ID
ILLUSTRATIONS
PLATE PAGE
I. Amiens Cathedral 15
C. Dipylon Vase 38
B. Erechtheum, Athens 7S
(13)
14 ILLUSTBATTONS.
C. S. Apollinare in Classe
AMIENS CATHEDRAL
Introduction
(Nietzsche).
(15)
16 FORM PROBLEMS OF THE GOTHIC.
values. Out
of this need arise language and art, and,
above the religion of primitive man.
all, To the ab
solute dualism of man and world corresponds, of course,
an absolute dualism of God and world. The notion of
God s immanence in the world can not yet find a place
in this apprehensive soul, besieged by unknown powers.
Deity is conceived as something absolutely above the
world, as a dark power behind things which one must
conjure and propitiate in every way, and against
which one must, above all, secure and protect himself by
every contrivable scheme. Under the burden of this
deep metaphysical anxiety primitive man overloads his
whole action and behavior with religious concerns. At
every step he clings, as it were, to religious precau
tionary expedients and seeks through mysterious con
juration to render himself and all that Is dear and
precious to him taboo in order to guard in this way
against the caprice of divine powers; for he personi
fies as such the precarious chaos of impressions that
C. D.
PKK-DYXASTU TIAN POTIKKY WITH GKO-
K(,YI
MKTHIC DKSKJNS
(Metropolitan Museum of Art, Neic York)
PRIMITIVE MAN. 33
( M<
tr<>i>oHt(t>i
Mitfu um of Art. AYir Vo A
-
surrounding world.
Thus, at this Classical stage of human development
artcreation becomes a clear, ideal demonstration of
now conscious and clarified vitality; it becomes the
objectified enjoyment of self. of all dualistic
Purged
memories, man celebrates in as in religion, the
art,
realization of a felicitous state of equilibrium of soul.
Oriental Man
LAS SIC AL man, with his well-tempered mood,
amounts to a culmination in the circle of Occi
dental culture. He sets the ideal standard of Occidental
possibilities.But we must not mistake Europe for the
world, we must not in European self-consciousness
shut our eyes to the phenomenon of Oriental civiliza
tion, which almost beggars ouir limited power of imag
ination.
For when we confront Oriental man, this third
great model example of human development, there is
intruded upon us a wholly new standard of human
development that corrects our European prejudice. We
must recognize that our European culture is only a
culture of the mind and of the senses, and that besides
this mental and sensuous culture, bound as it is to the
fiction of progress, there is another, which rests upon
sources of knowledge deeper than the intellect, especial
ly upon the one most valuable source, natural instinct;
we must recognize that intellectual knowledge as
vain and empty, only superficial delusion. The culture
of the Oriental is built up on natural instinct, and the
ring of evolution is closed: the Oriental stands nearer
to primitive man, again, than does Classical man, and
yet there is a whole cycle, a whole world of develop
ment between them. The veil of Maya, before which
primitive man stood in vague terror, Oriental man has
looked through and he has come face to face with the
inexorable dualism of all being. Awareness of the
problem of appearance and of the unfathomable riddle
of being is deeply rooted in his natural instinct and
precludes that naive belief in this world s values, with
which Classical man felt happy. That happy amalgama
tion of sensuous feeling and intellectual knowledge,
which led Classical man both to sensualize, or humanize,
and to rationalize the world, is impossible for Oriental
(40)
ORIENTAL MAN. 41
(43)
44 FORM PROBLEMS OF THE GOTHIC.
We arc
interested only in the conglomerate of
young, undeveloped hordes of northern and middle
still
X -
B.
EXAMIM.KS OK INTKKI.ACK OU.NAMKNT. MKKO\ IMIIAN
(Metropolitan JI/MSCWHI of Art. Xcic York)
C. N(
"Tl B<M)K
C. D.
EXAMFUS or ZOOMOBTHIC OBXAMKXT. Hi !
t
Mttmpotitim Mmsemm of Art. _Vr Tor*)
THE INFINITE MELODY OF NORTHERN LINE. 53
(75)
76 FORM PROBLEMS OF THE GOTHIC.
B. ERKCHTHKI-M. ATIIKNS
THE PRINCIPLE OF CLASSICAL ARCHITECTURE. 7!>
E
get the best transition to the investigation of the
principle of Gothic architecture and its wholly
different nature from Greek tectonics by making clear
to ourselves the relation of the two kinds of architec
ture to their material stone. Architecture begins to be
art only when it is no longer satisfied to employ stone
as mere material for any sort of practical purpose and
to handle it merely according to the dictates of its
material laws, only when it tries to extract from these
dead material laws an expression corresponding to a de
finitea priori artistic will. We have already seen that
Greek art animates these dead laws of stone and makes
a wonderful expressive organism, just as it animates
in the case of ornament the dead abstract line of primi
tive art and makes an organically rounded and organic
ally rhythmic line. It makes the rigid unsensuous logic
of construction into a sensuously perceptible and sen
suously comprehensible play of living forces. Logical
laws and organic necessity are here brought into a
synthesis which completely corresponds to the other
ideal Classical syntheses of concept and percept, of
thought and experience, of intelligence and sense. This
synthesis is ideal because neither of the factors form
ing it is submerged; they are interrelated, cooperative,
and complementary. That is equivalent to saying that
this architectural synthesis is not obtained by violating
the stone and material laws, but the structural laws
its
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
Gothic. For in it people have been confronted again
with an architectural form in which the artistic ex
pression is supplied by the method of construction it
self. Yet, despite all outer relationship, an important
inner difference is discernible. For in the modern case
it is the material itself that directly encourages such
C. S. Ai oi.i.i.NAKi IN Ci .
\>SK. RAVKNNA
FORTUNES OF THE GOTHIC FORM WILL. 91
Vii;ix AM) Ciin.i) WITH ST. AXXK. PAINTING IIY Ai.nitKi n r DUREB
(Metropolitan Museum of Art, Xeic York)
FORTUNES OF THE .GOTHIC FORM WILL. 95
PAMHKON. HOMK
INCEPTIVE EMANCIPATION FROM THE CLASSICAL. 103
A. NOTBE-DAME-DU-PORT, Cr.KKMOXT-FKKKAM
B. MODKNA CATIIKDRAI.
INCEPTIVE EMANCIPATION FROM THE CLASSICAL. Ill
(112)
Pl.ATK XXII
if T S
there not some analogy to the battle fought by
A the
church against natural man, when the Gothic
forces the stone into a form in which it has apparently
forgotten its weight, its brittleness, its natural tendency
to lie down and has apparently assumed a higher,
(115)
116 FORM PROBLEMS OF THE .GOTHIC.
nnn
4
1 t-
frt
UI.M CATHEDRAL
INTERIOR CONSTRUCTION OF THE CATHEDRAL. 119
Ul.M C.VTIIKDKAI,
EXTERIOR CONSTRUCTION OF THE CATHEDRAL. 131
n>
CASE DO NOT REMOVE
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1920
C.I
ROBA