'Sympathy, Imitation, and Ambition': The German Discovery of Medieval South Italy in the 19th Century

从诺曼人到斯瓦比亚人，从安茹人到阿拉贡人，从11世纪到15世纪，意大利南部的历代王朝创造了一个多样化和不断变化的政治框架，促进了东西方文化影响下极其丰富的建筑的发展。与早期相比，19世纪见证了对这种建筑的极大关注，这种建筑远远超出了地区和国家的界限。事实上，在18世纪末至19世纪初，意大利南部中世纪建筑和艺术的重新发现主要是通过非意大利学者的敏锐和调查的目光实现的：尤其是德国人，他们是第一批将注意力转向诺曼-西西里建筑的人，也是第一批在普利亚发现霍亨斯陶芬建筑的人。ssamoux d'Agincourt将中世纪称为艺术史缺失的一环，这个研究项目调查了意大利以外对中世纪西西里王国建筑的接受情况。通过对广泛的文本和视觉来源的分析，我特别想研究这座建筑在阿尔卑斯山的另一边被发现、感知、表现、研究和重新审视的方式，以及它对德国、英国和法国等国家艺术和文化生活的各个层面的影响。目的是提供一种新的方法来理解19世纪意大利南部中世纪建筑的接受，更加强调其跨国维度。最后的目的是不仅有助于对接受本身的研究，而且有助于从国际和比较的角度理解其动机。通过在更广泛的地理和学科背景下探讨这一主题，超越了意大利学者对当地历史和艺术传统的明显兴趣，我评估了外国，特别是德国观点的重要性。此外，我认为19世纪对诺曼、霍亨斯陶芬和安茹的中世纪Mezzogiorno建筑的重新发现是在各种主要西方力量和运动的共同压力下发生的：历史主义、民族主义和东方主义。在爱国情绪和对“他者”的追求之间的复杂关系中，这些力量使人们对这个迷人的边境地区产生了新的兴趣，这是欧洲、非洲和东方之间的一个界限地带，以及它极其丰富和复杂的建筑传统，这种传统以前被认为是“野蛮人”，被贬为欧洲艺术史的边缘。

From the Normans to the Swabians, and the Anjou to the Aragonese, successive dynasties in southern Italy from the 11th to the 15th century created a variegated and shifting political framework that contributed to the growth of an extraordinarily rich architecture influenced by both Eastern and Western cultures. In contrast to earlier periods, the 19th century witnessed a considerable increase in attention to this architecture that went well beyond regional and national boundaries. Indeed, the rediscovery of southern Italy's medieval architecture and art in the late 18th-early 19th centuries was primarily effected through the perceptive and investigative gazes of non-Italian scholars: Germans, in particular, were among the first to turn their attention to Norman-Sicilian buildings, and to discover Hohenstaufen architecture in Apulia.Within the general interest in what Séroux d'Agincourt called art history's missing link, i.e. the Middle Ages, this research project investigates the reception outside Italy of the architecture of the medieval Kingdom of Sicily. Through an analysis of a wide range of textual and visual sources, I especially want to examine the ways in which this architecture was discovered, perceived, represented, studied, and revisited on the other side of the Alps, as well as its impact at various levels on the artistic and cultural life in countries such as Germany, England, and France. The objective is to provide a new approach to understanding the 19th century reception of southern Italian medieval architecture, placing greater emphasis on its transnational dimension. The final aim is to contribute not only to the study of the reception itself, but also to the understanding of its motives in an international and comparative perspective.By approaching this subject within a broader geographical and disciplinary context, one which goes beyond the obvious, already much explored interest in local past and artistic traditions by Italian scholars, I assess the importance of foreign, and in particular German, perspectives. Additionally, I argue that the 19th century rediscovery of Norman, Hohenstaufen, and Angevin architecture of the medieval Mezzogiorno occurred under the combined pressure of various major Western forces and movements: Historicism, Nationalism, and Orientalism. In a complex relationship between patriotic sentiment and a quest for the 'other', these forces generated a renewed interest in this fascinating border zone, a liminal tract between Europe, Africa, and the East, and its extraordinarily rich and complex architectural tradition, a tradition previously considered 'barbarian' and relegated to the margins of European art histories.