And finally, "distinctness and deductive cogency (sufficient interrelation)." The homologous order mirrored in different parts of the cathedral, as in the treatise, is balanced by the clear articulation between parts: between shafts and walls, between vertical elements and their arches. As Aquinas maintains, "the senses delight in things duly proportioned as in something akin to them for the sense, too, is a kind of reason as is every cognitive power" (qtd. Secondly, "arrangement according to a system of homologous parts and parts of parts (sufficient articulation)." Just as the well-ordered Scholastic treatise is arranged in a hierarchy of consistent logical levels, so the Gothic cathedral divides into nave, transept, and chevet, with a hierarchy of subdivisions, resembling one another in their pointed arches and triangular ground plans-a uniformity that sets the Gothic apart from the Romanesque (Gothic 31, 45-49). Firstly, "totality (sufficient enumeration)." Like Scholastic theology, the High Gothic cathedral "sought to embody the whole of Christian knowledge, theological, moral, natural, historical, with everything in its place and that which no longer found its place, suppressed" (Gothic 31, 44-45). Panofsky argues that three core principles of Scholastic argument also apply to Gothic architecture. Indeed, he finds in Gothic architecture the very clarification that for Worringer is the antithesis of the Gothic and the essence of Classicism. Cutting through Worringer's vague racial model to a more sophisticated understanding of Scholasticism, and, like Adams, a greater focus on master architects as intellectuals (exposed to Scholastic ideas, he argues), Panofsky sobers Worringer's intoxication of the senses. Panofsky proposes manifestatio "CLARIFICATION FOR CLARIFICATION'S SAKE" as the formal principle uniting Gothic architecture and Scholastic theology (Gothic 34-35). In 1948 he delivered the Wimmer Lecture at Saint Vincent Archabbey in Latrobe, Pennsylvania, published in 1951 as Gothic Architecture and Scholasticism and later issued in paperback and numerous translations. Ironically, his sharp distinction between Northern and Classical styles was co-opted by the Nazis, who denounced expressionism as degenerate and propagated representational art and classical architecture as tonics for the German nation.Įrwin Panofsky was art historian and rector at the University of Hamburg (the first Jewish rector of a German university), until the Nazis ousted him in 1933 and he began a distinguished academic career in the United States. Even as the Great War raged, damaging cathedrals at Soisson, Rouen, and Reims, Worringer oversaw a fourth edition of Form in Gothic while on leave from the front, where the Northern impulse for redundant movement was finding new expression in trench warfare. Hulme to his prescient discussions of modernist abstraction in art and literature. Abstraction and Empathy was championed by the German expressionist artists Ernst Ludwig Kirchner and Emil Nolde, as justifying their angular, energetic style, and was applied by the English critic T. There he defines artistic abstraction as a withdrawal of subjective feeling from the perceived object, reflecting a straining beyond the physical world, in contrast to empathy, which entails a transfer of feeling from subject to object, resulting in more naturalistic forms. For Worringer, Gothic form synthesizes the dialectic between naturalistic and non-naturalistic styles in Western art history discussed in his 1908 bestseller, Abstraction and Empathy.
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