~ The odium theologicum winds
EVEN BETWEEN LOVERS belpaese ~ ~
RUSKIN vs CATHOLIC ARCHITECTURE ~
Speaking of Renaissance architecture, John Ruskin wrote in his most famous, The Stones of Venice "is the moral of it that is corrupt." Clear opinion: even the buildings of Palladio, the Goethe 'houses with tall columns, "are under the sign of corruption for this sensitive Victorian loved Italy - on the myth of the beautiful country between the Victorians has just inaugurated an exhibition at the Gallery National of Modern Art in Rome - but he had inherited from his mother a strict Puritan culture. The original sin that was uncovered in the peninsula, as usual, Catholicism, or rather, according to the vulgate of Romantic and post-romantic, pagan Christianity. "Pagan origin, arrogant and disrespectful in its first revival of ancient forms, paralyzed in his age, has invented an architecture, it seems, to the plagiarist of its architects, slaves of its artisans, and its sybaritic inhabitants, an architecture in which [...] you grant to every luxury, and in any insolence is strengthened. The first thing you should do is to banish forever and shake the dust from our feet. " A veritable crusade, a "war of styles," as was said. Click precipitate development of Palladio and Palladio's neo-pagans use it to put in nice shape the insolence of their principals sybaritic luxury: rather than a misunderstanding, the misunderstanding of a singular culture, it seems a delusion. Art that now seems to be the most superhuman at the dawn of the twentieth century still needed a defense attorney in the process from the party of secular moralists intentatole.
and found it in British soil, in the person of Geoffrey Scott, a young English student of Berenson, who in 1914 published a peroration to Palladio in a small book entitled Architecture of Humanism in which comments on the words of Ruskin: 'The theologicum odium has come to stimulate the techniques of dispute. [...] The poets and professors have declared this building sterile architecture of the imagination, the intellect absurd: now we find repugnant to the conscience and dangerous for the soul "(there is a translation of ' Architecture of Humanism at the hands of Helen Cross, published by Dedalus in Bari, where we take this and other citations).
in aversion to churches and Renaissance palaces and then it is not only a matter of taste, namely the romantic style, "there is also a tendency to judge from the ethical point of view." British island embodies a powerful movement of opinion in the name of moral puritan attacks of the Italian Renaissance architecture and art, its meaning Catholic . "The old Puritanism of the seventeenth century - Scott writes -, made a comprehensive calculation of the influence of art on life, had condemned and excluded from his republic with equal firmness and less courtesy than that used by Plato against the poets. The puritanism of the nineteenth century tried instead, by preventing the art and raising the dignity, to govern its manifestations, to guide the steps of the creative wandering, and also to interpret its history. " It came out of a cult of Christianity before the Reformation and the clearest rejection of art and civilization against which Martin Luther had risen: the Rome of the humanist Pope Leo X, the wonders of the Renaissance, the providential presence of many genes in a season. Raphael, idealized and transfigured by Winckelmann and later by the romantic, becomes the watershed. After him the deluge , or the Counter-Reformation. Scott is surprising that, in the eyes of neo-Puritans, "the Roman architecture represents the Church of Rome," but is it really so naive such an overlap?
"Infidels," "perverse," "insincere": this is the artists' way as their clients, clergy and Roman princes. For the 'art Jesuit "and then the anger is special. Also, a plea of \u200b\u200b'class' intensifies hatred: Renaissance architecture has roots in the aristocracy, only natural that after the Eighty-the art must undergo a process of democratization. How could Scott says, putting up an architecture that had "exalted principles and served popes, maintained the subordination of the particular design, the architect of the craftsman, the authority of conscience, whim of civilization, the individual will to control organized, all of which could odious philosophy of revolution, "and here that the bourgeois Protestant ethic react with bitterness, with the eternal suspicion of beauty, with the fear of money ostentatious without too much hypocrisy. The experiment neo-Gothic style, the group anticipates that the sectarian form of avant-garde, is better suited to the utopia of capitalism. Generalizing the alleged understanding of medieval art from the farmer - according to a simple representation in vogue in time - they wanted to now that all art would be within reach of the peasants and workers of the new industrial complexes, were expected di offrire al popolo «i privilegi della cultura senza richiedere la pazienza che la cultura richiede».
Come avrebbero reagito i diretti interessati, i Michelangelo e i Palladio, buoni cristiani, di fronte agli attacchi etici dei puritani moderni? Sicuri della dottrina cattolica, non avrebbero dato peso a tali accuse, ritenendole probabilmente nient’altro che ossessioni ereticali. E magari se fosse loro capitata l’occasione di osservare le opere di questa congrega neo-gotica, per esempio certi quadri di Ruskin esposti nella mostra di questi giorni alla Gnam, avrebbero sorriso della sua capacità di trasformare le splendenti creature di Botticelli in figure afflitte. La pia confraternita, sapiente nell’arte degli ornamenti, could not make credible characters who painted: there was, in contrast to the eloquent portraits from the sixteenth century faces, something inhuman, mechanical, of property; trick to have an expression, were always unsure of sex, sometimes heavy.
Mazzinians I will be the side to the accusations of corruption launched by Ruskin and his associates to the Italian culture. They are also willing to give up the great architecture, the great art, stemming from civilization papist, what remained of the large peninsula? Maybe the little that made it similar to other European countries have modernized, for which the apostles of the Renaissance was dying. A big deal: as he noted Dostoevsky in his Diary of a Writer , had managed to sell off a garden paradise, home to all Europeans, for a small state, calculated to the French.
RUSKIN vs CATHOLIC ARCHITECTURE ~
Speaking of Renaissance architecture, John Ruskin wrote in his most famous, The Stones of Venice "is the moral of it that is corrupt." Clear opinion: even the buildings of Palladio, the Goethe 'houses with tall columns, "are under the sign of corruption for this sensitive Victorian loved Italy - on the myth of the beautiful country between the Victorians has just inaugurated an exhibition at the Gallery National of Modern Art in Rome - but he had inherited from his mother a strict Puritan culture. The original sin that was uncovered in the peninsula, as usual, Catholicism, or rather, according to the vulgate of Romantic and post-romantic, pagan Christianity. "Pagan origin, arrogant and disrespectful in its first revival of ancient forms, paralyzed in his age, has invented an architecture, it seems, to the plagiarist of its architects, slaves of its artisans, and its sybaritic inhabitants, an architecture in which [...] you grant to every luxury, and in any insolence is strengthened. The first thing you should do is to banish forever and shake the dust from our feet. " A veritable crusade, a "war of styles," as was said. Click precipitate development of Palladio and Palladio's neo-pagans use it to put in nice shape the insolence of their principals sybaritic luxury: rather than a misunderstanding, the misunderstanding of a singular culture, it seems a delusion. Art that now seems to be the most superhuman at the dawn of the twentieth century still needed a defense attorney in the process from the party of secular moralists intentatole.
and found it in British soil, in the person of Geoffrey Scott, a young English student of Berenson, who in 1914 published a peroration to Palladio in a small book entitled Architecture of Humanism in which comments on the words of Ruskin: 'The theologicum odium has come to stimulate the techniques of dispute. [...] The poets and professors have declared this building sterile architecture of the imagination, the intellect absurd: now we find repugnant to the conscience and dangerous for the soul "(there is a translation of ' Architecture of Humanism at the hands of Helen Cross, published by Dedalus in Bari, where we take this and other citations).
in aversion to churches and Renaissance palaces and then it is not only a matter of taste, namely the romantic style, "there is also a tendency to judge from the ethical point of view." British island embodies a powerful movement of opinion in the name of moral puritan attacks of the Italian Renaissance architecture and art, its meaning Catholic . "The old Puritanism of the seventeenth century - Scott writes -, made a comprehensive calculation of the influence of art on life, had condemned and excluded from his republic with equal firmness and less courtesy than that used by Plato against the poets. The puritanism of the nineteenth century tried instead, by preventing the art and raising the dignity, to govern its manifestations, to guide the steps of the creative wandering, and also to interpret its history. " It came out of a cult of Christianity before the Reformation and the clearest rejection of art and civilization against which Martin Luther had risen: the Rome of the humanist Pope Leo X, the wonders of the Renaissance, the providential presence of many genes in a season. Raphael, idealized and transfigured by Winckelmann and later by the romantic, becomes the watershed. After him the deluge , or the Counter-Reformation. Scott is surprising that, in the eyes of neo-Puritans, "the Roman architecture represents the Church of Rome," but is it really so naive such an overlap?
"Infidels," "perverse," "insincere": this is the artists' way as their clients, clergy and Roman princes. For the 'art Jesuit "and then the anger is special. Also, a plea of \u200b\u200b'class' intensifies hatred: Renaissance architecture has roots in the aristocracy, only natural that after the Eighty-the art must undergo a process of democratization. How could Scott says, putting up an architecture that had "exalted principles and served popes, maintained the subordination of the particular design, the architect of the craftsman, the authority of conscience, whim of civilization, the individual will to control organized, all of which could odious philosophy of revolution, "and here that the bourgeois Protestant ethic react with bitterness, with the eternal suspicion of beauty, with the fear of money ostentatious without too much hypocrisy. The experiment neo-Gothic style, the group anticipates that the sectarian form of avant-garde, is better suited to the utopia of capitalism. Generalizing the alleged understanding of medieval art from the farmer - according to a simple representation in vogue in time - they wanted to now that all art would be within reach of the peasants and workers of the new industrial complexes, were expected di offrire al popolo «i privilegi della cultura senza richiedere la pazienza che la cultura richiede».
Come avrebbero reagito i diretti interessati, i Michelangelo e i Palladio, buoni cristiani, di fronte agli attacchi etici dei puritani moderni? Sicuri della dottrina cattolica, non avrebbero dato peso a tali accuse, ritenendole probabilmente nient’altro che ossessioni ereticali. E magari se fosse loro capitata l’occasione di osservare le opere di questa congrega neo-gotica, per esempio certi quadri di Ruskin esposti nella mostra di questi giorni alla Gnam, avrebbero sorriso della sua capacità di trasformare le splendenti creature di Botticelli in figure afflitte. La pia confraternita, sapiente nell’arte degli ornamenti, could not make credible characters who painted: there was, in contrast to the eloquent portraits from the sixteenth century faces, something inhuman, mechanical, of property; trick to have an expression, were always unsure of sex, sometimes heavy.
Mazzinians I will be the side to the accusations of corruption launched by Ruskin and his associates to the Italian culture. They are also willing to give up the great architecture, the great art, stemming from civilization papist, what remained of the large peninsula? Maybe the little that made it similar to other European countries have modernized, for which the apostles of the Renaissance was dying. A big deal: as he noted Dostoevsky in his Diary of a Writer , had managed to sell off a garden paradise, home to all Europeans, for a small state, calculated to the French.
.
[See on this' Almanac ', even as a preamble to the exhibition of Yum, "Nazarenes and Pre-Raphaelites'
As an antidote to the English Puritans but it is always useful Chesterton (on "Almanac," "Venus and Mary according to Chesterton," http://almanaccoromano.blogspot.com/search/label/Venere 20Maria%% 20e% 20IN% 20G .% 20K. 20Chesterton% ]
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