THE COLLEGE NEWS:

   

- Page 3

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Dr. Panofsky Speaks
on Medieval Classicism

 

(Continued from Page One) *

tures,” which were actually used for
determining thétufuréiticil:, -and
profession of every new born child.
Northern realism began to group
these tables into family scenes, which
came to be a kind of genre picture,
which exhibit imagination and humor,
and have gotten away entirely from
the classical in everything but subject
matter. At this point a Protorenais-
sance begins as the artists realize
that they cannot represent classical
- deities inthe unclassical manner of
the usual late medieval illustrations.
They go back to Carolingian manu-
scripts for classical prototypes taken
from ‘antique monuments.

The same development takes place
in non-astronomical and astrological
' illustrations where the paucity of the
representative tradition necessitated
the illustration of all the myths from
the texts. The development of the

 

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figure of Mercury is a good example
of this literary tradition.

These developments, said Dr. Pan-
ofsky, show that “whenever Caroling-
ian art interpreted a mythological
subject in its genuine classical form,

the types thus resumed either sink
into, oblivion or degenerate during the
following centuries so as to become
unrecognizable and completely assimi-
lated to Romanesque and Gothic con-
ceptions; they are supplanted by non-
classical types either deriving from
the: East or freely invented on the
basis of a more textual tradition, and
as late as the second half of the fif-
tenth century the classical types are
reinstated thanks: to the imitation of
actual antique monuments, a process
which, in Germany, is precluded by

 

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certain attempts at galvanizing the
classicistic types,”
The Middle Ages had had passive

Jemotions but no active physical pas-

sions, and as a result their ‘artists

were able to portray religious pas-
sions but not the human emotions.
Durer is the happy ending to this
whole development in that he brings
back to life the. sensual, passionate
description of the real pagan Ovid.
The Renaissance reunited what in
the Middle Ages was classic form de-
nuded of its original meaning, and
classical meaning denuded of its orig-
inal form, and brought back the two
human qualities of beauty and the
animal emotion, adding active physi-
cal passions to medieval passivity.

 

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“Thus,” D& Panofsky concluded his
masterly dissertation, “the reintegra-
tion of antique mythology during the
Renaissance was not merely a human-
istic occurence, but the rediscovery of
vital forces, long latent, and which
were now to become active impulses

in modern life.”
CAROLINE T. BEIG.

 

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