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

从诺曼人到斯瓦比人，从昂儒人到阿拉贡人，从11世纪到15世纪，意大利南部的连续王朝创造了一个五花八门、不断变化的政治框架，促进了受东西方文化影响的极其丰富的建筑的发展。与早期时期相比，19世纪见证了对这种超越地区和国家界限的建筑的相当大的关注。事实上，18世纪末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敏锐和调查的凝视：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，并在阿普利亚发现霍亨斯陶芬建筑的人之一。人们普遍对S·鲁克斯·达金库尔所说的艺术史缺失的一环，即中世纪，感兴趣，本研究项目调查了意大利以外的人对中世纪西西里王国建筑的接受。通过对广泛的文字和视觉来源的分析，我特别想检查这种建筑是如何在阿尔卑斯山的另一边被发现、感知、表现、研究和重温的，以及它在不同层面上对德国、英国和法国等国的艺术和文化生活的影响。其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，更多地强调其跨国维度。最终目的不仅是为了研究接待本身，也是为了从国际和比较的角度理解接待的动机。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，我评估了外国视角，特别是德国视角的重要性。此外，我认为19世纪重新发现中世纪Mezzogiorno的诺曼、霍亨斯陶芬和安吉万建筑是在各种西方主要力量和运动的共同压力下进行的：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，这些力量重新引起了人们对这一迷人的边境地区的兴趣，这是欧洲、非洲和东方之间的一片边缘地带，以及它极其丰富和复杂的建筑传统，这一传统以前被认为是“野蛮人”，被贬低到欧洲艺术史的边缘。

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.