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Erwin Panofsky PDF
Erwin Panofsky PDF
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by Erwin Panofsky
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A MERIDIAN BOOK
INieVU AMERICAIVi LiBRAfyy
NEW YORK. LONDON AND SCARBOROUGH. ONTARIO
words.
Figure i.
Tombstone of the Architect Hugues Libergier (died
1263), Reims Cathedral.
Figure 2.
Autun Cathedral, west portal. Ca. 11 30.
Figure 3,
Paris, Notre-Dame, central portal of the west fa9ade
(much restored) Ca. 121^-1220.
.
Figure 4,
Henry I of France bestowing privileges upon the Priory
of St.-Martin-des-Champs, Book illumination between
1079 and 1096, London, British Museum, ms. Add.
1 162, fol. 4.
Figure 5.
Henry I of France bestowing privileges upon the Priory
of St.-Martin-des-Champs. Book illumination of ca,
Figure 6.
Philip I of France bestowing privileges upon the Priory
of St.-Martin-des-Champs. Book illumination between
IX
Illustrations
Figure 7.
Philip I of France bestowing privileges upon the Priory
of St. -Martin-des- Champs. Book illumination of ca.
Figure 8,
Maria Laach, Abbey Church from the northwest. 1093-
II 56.
Figure p.
Pima (Saxony), Marienkirche, interior. Begun 1502.
Figure 10,
Cluny, Third Abbey Church, groundplan, io88-cd.
1 1 20 ; narthex ca. 1 1 lo-ca. go. (After K. J. Conant,
1 1
Figure 11,
Amiens Cathedral, groundplan. Begun 1220.
Figure 12.
Sens Cathedral, groimdplan. Constructed ca. 114.0-ca.
1 168. (After E. Gall, Die gotische Baukunst in Frankreich
und Deutschland, Leipzig, 192^).
Figure 13.
Laon Cathedral, groundplan. Begun ca. 1160.
. .
Illustrations
Figure 14.
Laon Cathedral from the northwest. Begun ca, 1160.
Figure 15,
Reims Cathedral from the northwest. Begun 1 2 1 1
Figure 16,
Amiens Cathedral from the northeast. Begun 1220.
Figure J J.
Figure 18,
Laon Cathedral, interior of the choir. Begun after 1205
in conformity with elevation designed ca, 1160.
Figure 19,
Chartres Cathedral, interior of the nave. Begun shortly
after 1 1 94.
Figure 20.
Reims Cathedral, interior of the nave. Begun 1 2 1 1
Figure 21,
Amiens Cathedral, interior of the nave. Begun 1220.
Figure 22,
St.-Denis, interior of the nave. Begun 1231.
Figure 23.
Caen, St.-Ettienne, vaults of the northern transept. Ca.
mo. (After E. Gall, op. cit.)
. .
Illustrations
Figure 24.
Soissons Cathedral, vaults of the southern side aisle in
course of restoration after World War I. Beginning of
the Xlllth century.
Figure 25.
Soissons Cathedral, section of the northern nave wall
damaged during World War I. Beginning of the Xlllth
century.
Figure 26.
Chartres Cathedral, flying buttress of the nave. Design
established shortly after 1194.
Figure 27.
Reims Cathedral, Madonna in the right hand portal of
the northern transept. Ca. 1 2 1 i-i 2 1 2
Figure 28.
Durham Cathedral, concealed flying buttresses. End of
the XI th century. (After R. W. Billings, Architectural
Figure 29.
Reims Cathedral, open flying buttresses of the nave.
Figure 30.
St.-Denis, w^est fa9ade. Dedicated 1140. (After an en-
Xll
Illustrations
Figure 31,
Paris, Notre-Dame, west facade. Begun shortly after
1 200 ; clerestory ca. 1220.
Figure 32,
Laon Cathedral, west fa9ade. Designed ca, 11 60; exe-
cuted from cfl. 1 190.
Figure 33-
Amiens, west facade. Begun 1220; clerestory com-
pleted 1236; tracery of the rose ca. 1500,
Figure 34-
Reims, St.-Nicaise (destroyed), west fa9ade. Between
ca. 1230 and 1263; rose restored ca. 1550. (After an
engraving by N. de Son, of 1625.)
Figure 35.
Reims, St.-Nicaise (destroyed), rose in the west
facade (partial reconstruction).
Figure 36.
Reims Cathedral, nave window. Designed ca. 1211.
Figure 37-
Caen, Ste.-Trinite, triforium. Ca. mo.
Figure 3S.
Sens Cathedral, triforium galleries. Towards 11 50.
xiu
Illustrations
Figure 39-
Noyon Cathedral, nave galleries and triforium. Design
established ca. 1170; eastern bay executed between
1 1 70 and 1 1 85, rest later.
Figure 40,
Chalons-sur-Mame, Notre-Dame-en-Vaux, choir galler-
ies and triforium. Ca. 1 185^.
Figure 41 .
Figure 42.
Reims Cathedral, nave triforium. Design established
ca. i2i I.
Figure 43.
Villard de Honnecourt, interior elevation of Reims
Cathedral. Drawling of ca. 1235, Paris, Bibliotheque
Nationale (enlarged detail).
Figure 44.
Amiens Cathedral, nave triforium. Design established
ca. 1220.
Figure 45.
St.-Denis, nave triforium. Design established ca. 1231.
Figure 46.
Canterbury Cathedral, choir piers. 1
1
74-1 178.
xiv
Illustrations
Figure 47.
Chartres Cathedral, capital of nave pier. Design estab-
lished ca. 1 194.
Figure 48,
Reims Cathedral, capital of nave pier. Design established
ca. 121 1.
Figure 49.
Amiens Cathedral, capital of nave pier. Design estab-
lished ca. 1220.
Figure SO.
St. -Denis, capital of nave pier. Design established ca,
1231.
Figure 5/.
Amiens Cathedral, cross section of pier in relation to
wall and vault-ribs. Design established ca. 1220.
Figure 2.
St. -Denis, cross section of pier in relation to wall and
vault-ribs. Design established ca. 1231.
Figure 53,
Cologne Cathedral, cross section of pier in relation to
Figure 54,
Canterbury Cathedral, capital of pier. 11 74-1 178 (dia-
gram).
XV
Illustrations
Figure 55.
Chartres Cathedral, capital of pier. Design established
shortly after 1
194 (diagram).
Figure 56.
Reims Cathedral, capital of pier. Design established ca.
121 1 (diagram).
Figure 57-
Amiens Cathedral, capital of pier. Design established ca.
1220 (diagram).
Figure 58.
Beauvais Cathedral, capital of pier. Design established
ca. 1247 (diagram).
Figure 39-
St. -Denis, capital of pier. Design established ca. 1231
(diagram).
Figure 60.
Villard de Honnecourt, ideal groundplan of a chevet
from his discussion with Pierre de Corbie.
resulting
Drawing of ca. 1235, Paris, Bibliotheque Nationale.
XVI
Gothic Architecture and
Scholasticism
THE
HISTORIAN CANNOT HELP DIVIDING
1
Gothic Architecture
2
And Scholasticism
3
Gothic Architecture
And Scholasticism
Gothic Architecture
7
Gothic Architecture
8
And Scholasticism
9
Gothic Architecture
linear.
10
And Scholasticism
11
Gothic Architecture
12
And Scholasticism
13
Gothic Architecture
and grammar"
*
attempt to subject 'logic, physics,
14
And Scholasticism
15
Gothic Architecture
16
And Scholasticism
intersect.*'
17
Gothic Architecture
18
And Scholasticism
19
.1- ^ p ^^^^srsm
Gothic Architecture
II
20
And Scholasticism
21
Gothic Architecture
22
And Scholasticism
ways, quite apart from the fact that their own work
automatically brought them into a working asso-
<
Gothic Architecture
where the priest and the layman, the poet and the
lawyer, the scholar and the artisan could get to-
24
And Scholasticism
25
Gothic Architecture
kind of Scholastic.
26
And Scholasticism
III
27
ffw^
Gothic Architecture
What he vv^ho
**
devised the form of the building
28
And Scholasticism
29
Gothic Architecture
30
And Scholasticism
31
Gothic Architecture
^^
affectuum tarditatem, propter memoriae Jabilitatem,^ ^
32
And Scholasticism
^pp
Gothic Architecture
34
And Scholasticism
IV
35
9^^
Gothic Architecture
itself
quite naturally in view of the educational
**mental habit."
36
And Scholasticism
il
^^m
Gothic Architecture
scitiva'').^^
38
And Scholasticism
39
m^
Gothic Architecture
40
And Scholasticism
ginal gloss.
41
Gothic Architecture
and mitre.
42
And Scholasticism
43
Gothic Architecture
44
And Scholasticism
45
Gothic Architecture
46
And Scholasticism
47
msm^m^
Gothic Architecture
48
And Scholasticism
ing period.
49
Gothic Architecture
50
And Scholasticism
51
Gothic Architecture
52
And Scholasticism
lieve
**illusionism."34 From the point of view^ of
^^^^
;
Gothic Architecture
54
And Scholasticism
55
Gothic Architecture
56
And Scholasticism
57
Gothic Architecture
58
And Scholasticism
59
^m^m
Gothic Architecture
60
And Scholasticism
first rank.
61
Gothic Architecture
62
And Scholasticism
(fig. i8).4^
63
Gothic Architecture
64
And Scholasticism
65
Gothic Architecture
**
would stimulate the reader all the more vigor-
66
And Scholasticism
*
division into many parts as do the dialecticians;
''^
used by the jurists.
67
Gothic Architecture
68
And Scholasticism
Peter Aureolus.^^
69
:
Gothic Architecture
piers.
70
And Scholasticism
in particular.
71
Gothic Architecture
ble); and even then the space for the side portals
72
And Scholasticism
73
Gothic Architecture
contra, ^^
74
And Scholasticism
75
Gothic Architecture
shafts.
76
And Scholasticism
of the window.
77
Gothic Architecture
floral ornament.
78
And Scholasticism
79
Gothic Architecture
fig- ^4).
81
Gothic Architecture
triforium.
82
And Scholasticism
the central wall shaft and what I shall call for short
the pier which faces the nave and not the side aisle
83
Gothic Architecture
48 and ^6).^
Amiens, on the contrary, reverted to the Char-
tres type, taking, however, one step farther in
84
And Scholasticism
tion' '
of the nave wall by the core of the pier which
85
Gothic Architecture
86
And Scholasticism
87
Gothic Architecture
88
Notes
Notes
91
Notes
92
Notes
93
Notes
1928, p. 429.
94
Notes
67.
95
.. ;
Notes
23 . This First Part, dealing with God and the order of crea-
tion, is organized as follows:
96
: ; ; ; ;
Notes
divided as follows
A. Comparatur. Solomon
I. in aliquibus pro/ecit :
a. in latriae magnitudine;
b. in prudentiae certitudine;
c. in iustitiae rectitudine;
d. in clementiae dulcedine.
a. in sapientiae limpitudine;
b. in abundantiae plenitudine
c. in facundiae amplitudine;
b. in perseverantiae longitudine
c. in idolatriae multitudine
97
Notes
dela prima parte nela quale fae proemio ala prima canticha
solamente, cioe ala prima parte di questo libro solamente."
Cf. Jacopo della Lana's Commentary (reprinted in L. Scara-
belli's edition of the Divina Commedia of 1866, pp. 107 and
118): "In questi due primieri Capitoli ... fa proemio e
mostra sua disposizione. . . . Qui {sciL, in Canto 2) segue
suo proema pregando la scienzia che lo aiuti a trattare tale
98
Notes
especially p. 79.
29. Paris, Bibl. Nat., Nouv. Acq. 13^9 and London, Brit.
1
1 90) having an alternating system; St.-Yved-de-Braine
(after 1200), having compound piers in the chevet; Long-
99
Notes
the west), this type is chiefly important for its influence upon
provincial structures erected after the middle of the thir-
teenth century (cf. note 6i), and upon the supports in the
rond-point and in the rond-point only of Reims and Beau-
vais Cathedrals. For the development of the pilier cantonnS
100
Notes
101
;
Notes
r ancienne languefrancaise, W f
Paris and Niort, 1877, p. 227).
102
Notes
pp. 31 ff.
43. See J. Gaudet, op. cit., pp. 200 ff., fig. 1076.
103
Notes
45. See S. McK. Crosby, loc. cit. ; for Bourges, cf. above,
note 17.
104
Notes
loqui/*
105
.
Notes
106
Notes
60. This applies also to the capitals of the major and minor
colonnettes of the west portals which thus form a significant
contrast to the corresponding ones in Amiens.
107
.
Notes
62. Villard de Honnecourt, op. cit., pp. 69 fF., pi. 29; the
inscription, "Istud bresbiterium inuenerunt Ulardus de
Hunecort et Petrus de Corbeia inter se disputando," was
added by a disciple of Villard known as "Master 2."
108
Illustrations
Figure 1. Tombstone of the Architect Hugues Libergier (died 1263),
Reims Cathedral.
Ill
^ ij:^,.- ..rteicr/.^fl
n
112
Figure 3. Paris, Notre-Dame, central porul of the west facade (much
restored). Ca. iiis-1220.
113
Figure 4. Henry I of France bestowing privileges upon the Priory of
St.-Martin-des-Champs. Book illumination between 1079 and 1096,
London, British Museum, ms. Add. 1162, fol. 4.
114
\^^flnt^ry/t/ A'^f^
115
-r^-^ -..**<
116
Jhr mttrltnnP|ii ^^nnii^- rrrmc {nonlf o^lialttitr p{Hn iRttttn*
(IVirnno MCf irfrtrl^ir mCmiw in cdrm*
ilttCMr aUlDiwr in Amtfnoti J oOtr folac(cm6tnnniradt6tr cOctii*
OtftDtimdu itdffiiltr dd fancnO**
11 'm--
117
1
118
Figure 9. Pima (Saxony), Marienkirche, interior. Begun ijo2,
119
Of St.
tototrsi^vauitXXXotnt '
iifiuioUJ '<
^cno^'io
outtr buttresses
and/arr vault
built or repaired
hetwten 14S7 a
and t^i
6. cfH2 to ins?
posstbbf tncioud 1130
5. c.no^-f*:
ptrhaf* ttautttd iHf t/3S
higfi oaxtit c.fjts-^; fettinS',
rcpaux'd between, itigand njo
sirengtivened ihm and c /7<rc
ptrhctpavauUndlaltr
JvUshaeL j^g-gS? S.XUoeru, andctuS
120
**'**
t.
4-
-i^i , I.
n t
i^
* f
^l-t?
Figure 11. Amiens Cathedral, groundplan. Begun 1220.
121
* t
n
^ - - -
-
41
>f ^ r w.
>*"*'
i^
^
Figure 12. Sens Cathedral, groundplan.
Constructed ca. 1140-ca. 1168. (After
E. Gall, Die gotische Baukunst in
122
Swr->fc|
123
124
no
125
Figure ij. Lessay (Normandy), Abbey Church, interior. End of the
Xlth century.
126
Figure l8. Laon Cathedral, interior of the choir. Begun after 120^
in conformity with elevation designed ca. 1 160.
127
Figure 19. Chartres Cathedral, interior of the nave. Begun shortly
after 1 194.
128
Figure 20. Reims Cathedral, interior of the nave. Begun 121 1.
129
Figure 21. Amiens Cathedral, interior of the nave. Begun 1220.
BO
Figure 22. St. -Denis, interior of the nave. Begun 1231.
131
Figure 23. Caen, St.-Etiienne, vaults of the northern transept. Ca.
1 110. (After E. Gall, op. cit.)
132
133
Figure 2^. Soissons Cathedral, section of the northern nave wall
damaged during World War I. Beginning of the XI 1 1th century.
134
135
Figure 28. Durham Cathedral, concealed flying buttresses. End of
the Xlth century. (After R. W. BilHngs, Architectural Illustrations and
Description of the Cathedral of Durham, London, 1843.)
136
.
2
of the nave. Design estoblished ca. 1 1 1
137
Figure JO. St. -Denis, west facade. Dedicated 1140. (After an en-
graving by A. and E. Rouargue, executed before the restoration of
1833-1837.)
138
\ t
Figure 31. Paris, Notre-Dame, west fa<;ade. Begun shortly after 1200;
clerestory ca. 1220.
139
Figure 32. Laon Cathedral, west facade. Designed ca. 1160; executed
from ca. 1 190.
140
^^
'
completed
Amiens west fa,;ade. Begun .220; clerestory
f/aur. 33.
joo.
1236; tracery of the rose ca. 1
141
reconstruction )
143
^ure J7. Caen, St.-Trinite, triforium. Ca.
ii,,
144
Figure 39. Noyon Cathedral, nave galleries and triforium. Design
established ca. 11 70; eastern bay executed between 1170 and ii8^,
rest later.
145
Figure 40. Chalons-sur-Mame, Notre -Dame-en- Vaux, choir galleries
146
established ca.
Figure 41. Chartres Cathedral, nave triforium. Design
1 194.
147
Figure 42. Reims Cathedral, nave triforium. Design established ca.
121 1.
148
Figure 43. Villard de Honnecourt, interior elevation of Reims Ca-
thedral. Drawing of ca. 123J, Paris, Bibliotheque Nationale (en-
larged detail).
149
Figure 44. Amiens Cathedral, nave triforium. Design estabHshed ca.
1220.
150
Figure 45. St. -Denis, nave triforium. Design established ca. 1231
151
152
, .
Eim
Figure 47. Chartres Cathedral, capital
Figure 49. Amiens Cathedral, capital Figure SO- St. -Denis, capital of nave
of nave pier. Design established pier. Design established ca. i 2 3 i
ca. 1220.
153
Figure St- Amiens Cathedral, cross
154
Figure S4- Canterbury Cathedral, Figure SB- Chartres Cathedral, cap-
capital of pier, ii 74-1 178 (diagram). ital of pier. Design established
shortly after 11 94 (diagram).
of pier. Design established ca. iiii of pier. Design established ca. 1220
(diagram).
Figure 5*. Beauvais Cathedral, capital Figure 9- St. -Denis, capital of pier.
of pier. Design established ca. 1 247 Design established ca. 1231 (diagram).
(diagram).
155
Figure 6o. Villard de Honnecourt, ideal groundplan of a chevet
resulting from his discussion with Pierre de Corbie. Drawing of ca.
156
ERWIN PANOFSKY
Erwin Panofsky was born in Germany in 1892. Educated
Munich, and Freiburg universities, he became a
at Berlin,
lecturer in the history of art at Hamburg University in
1921. He wasa professor there from 1926 until 1933. From
1931 to 1933 he was also a visiting professor at New York
University. In 1934 he was a visiting lecturer at Princeton
University,where he has been since 1935 a professor at the
Institute forAdvanced Study. He was Charles Eliot Norton
Professor of Poetry at Harvard University during 1947-48.
Among his other works in English are Studies in Iconology
(1939), The Codex Huyghens and Leonardo da Vinci's Art
Theory (1940), Albrecht Durer (first edition, 1943),
Abbot Suger on the Abbey Church of St. Denis and Its Art
Treasures (1946), Early Netherlandish Painting: Its Origin
and Character (1953), and Galileo as a Critic of the Visual
Arts (1954).
@
Great Reading from MERIDIAN
D THE RENAISSANCE OF THE 12th CENTURY by Charles Homer
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(#F456 $5.95)
D GOTHIC ARCHITECTURE AND SCHOLASTICISM: An Inquiry Into the
Analogy of the Arts, Philosophy, and Religion in the Middle Ages by
Edwin Panofsky. An important contribution to the history of art as
well as to the history of ideas, Erwin Panofsky indicates with grace
and humanistic breadth the profound correlation between the devel-
opment of Gothic architecture and the growth of scholastic philos-
ophy. Illustrated. (#F581 $4.95)
D CREATIVE INTUITION IN ART AND POETRY by Jacques Maritain.
The A.W. Mellon Lectures in the Fine Arts. In this volume Jacques
Maritain proposes to make clear both the distinction and the indis-
soluble relationship between art and poetry. He insists on the part
played by the intellect in both, and especially on the fact that poetry
has its source in the Intuitive activity of the intellect. "(Jacques
Maritain) is the most powerful force in contemporary French philos-
ophy."T. S. Eliot (#F417 $4.95)
D THE ITALIAN PAINTERS OF THE RENAISSANCE by Bernard Berenson.
The four great studies of the Venetian, Florentine, Central Italian,
and Northern Italian painters of the Renaissance are here brought
together, providing for the first time a complete survey of Italian
Renaissance art from CImabue to Corregio. (#F455 $5.95)
In Canada, please add $1.00 to the price of each book.
work, his community. Includes Wright's amazing plans for his model
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Gothic
Architecture and Scholasticism
An
inquiry into the analogy of the arts,
philosophy, and religion in the Middle Ages.
ERWIN PANOFSKY
NEW AMERICAN LIBRARY PUBLISHES SIGNET. MENTOR, CLASSIC. PLUME, MERIDIAN & NAL BOOKS