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Additional resources for A Companion to Medieval Art: Romanesque and Gothic in Northern Europe
It was, however, not the neo-Classical that Goethe was consciously challenging, but what he saw as the tyranny of contemporary tastes, particularly the “effete” French Rococo. Gothic was German architecture, the product and expression of the German psyche, and it was upon this – and not the expressions of other cultures – that German national identity should be based. Goethe later distanced himself from this identification with ACTC01 16 26/01/2006, 03:47PM INTRODUCTION: HISTORIOGRAPHY 17 medieval (though he would eventually return to a limited acceptance of it), but the impact of this essay on others was profound and lasting.
As fanciful as any medieval architectural drawing, this literally illustrates both the impact Horace Walpole’s book had on the Romantic conception of Gothic and one of the means of the diffusion of that conception. Reproduced courtesy of the Lewis Walpole Library, Yale University. ACTC01 14 26/01/2006, 03:47PM INTRODUCTION: HISTORIOGRAPHY 15 designed by Vasari for court use in 1559), the Louvre in 1750, the British Museum in 1753, the Museo Pio-Clementino in 1770, the Albertina in Vienna in 1773, and the Schloss Belvedere in Vienna in 1781, to name a few.
But Winckelmann also called for the imitation of the ancients, and in so doing gave an unprecedented impetus to the establishment of neo-Classicism, whose underlying mind-set was by definition inimical to medieval. The result of this was, to a large extent, to firmly reinforce the already strongly entrenched idea that there was but one standard, the Classical. Romanticism The virtually unquestioned position of Classical as the only standard by which art might be judged was irrevocably shattered with Johann Wolfgang von Goethe’s essay On German Architecture of 1772.