theoryofliteratu00inwell

pp. 125-132] Notes 321
8. W. G. Howard, "Ut Pictura Poesis," Publications of the Modem Lan-
guage Association, XXIV (1909), pp. 40-123 ;
Cicely Davies, "Ut Pic-
tura Poesis," Modern Language Review, XXX (1935), pp. 159-69;
Rensselaer W. Lee, "Ut Pictura Poesis: The Humanistic Theory of
Painting," Art Bulletin, XXII (1940), pp. 197-269.
9. Mrs. Una Ellis-Fermor gives such an elaborate "musical analysis" of
Jonson's Volfone in her Jacobean Drama, London, 1936; and George
R. Kernodle tried to find "The Symphonic Form of King Lear''' in
Elizabethan Studies and Other Essays in Honor of George G. Rey-
nolds, Boulder, Colorado, 1945, pp. 185-91.
10. See Erwin Panofsky, "The Neoplatonic Movement and Michel-
angelo," Studies in Iconology, New York, 1939, p. 171 ff.
11. Charles de Tolnay, Pierre Bruegel I'Ancien, 2 vols., Bruxelles, 1935;
cf. also Die Zeichnungen Peter Breugels, Munich, 1925; Carl Neumann's
criticism in Deutsche Vierteljahrschrift, IV (1926), p. 308 ff.
12. Cf. preceding chapter, "Literature and Ideas."
13. Benedetto Croce, Aesthetic (tr. D. Ainslie), London, 1929, pp. 62,
1 10, 188, et -passim.
14. John Dewey, Art as Experience, New York, 1934, pp. 212.
15. T. M. Greene, The Arts and the Art of Criticism, Princeton, 1 940,
p. 213 ff., especially pp. 221-26; John Dewey, op. cit., pp. 175 ff.,
218 ff. Arguments against the use of rhythm in the plastic arts are to
be found in Ernst Neumann, XJntersuchungen zur Psychologie und
Aesthetik des Rhythmus, Leipzig, 1894; and in Fritz Medicus, "Das
Problem einer vergleichenden Geschichte der Kiinste," in Philosophie
der Literaturzvissenschaft (ed. E. Ermatinger), Berlin, 1930, p. 1 95 ff.
16. George David Birkhoff, Aesthetic Measure, Cambridge, Mass., 1933.
17. E.g., in John Hughes's Preface to his edition of the Faerie Queene
(171 5) and in Richard Hurd's Letters on Chivalry and Romance
(1762).
18. Oswald Spengler, Der Untergang des Abendlandes, Munich, 1923,
Vol. I, pp. 151, 297, 299, 322, 339.
19. Cf. R. Wellek's article cited in Bibliography, section I, and his "The
Concept of Baroque in Literary Scholarship," Journal of Aesthetics
and Art Criticism, V (1946), pp. 77-108. There are many concrete
examples and further references.
20. H. Wolfflin, Kunstgeschichtliche Grundbegriffe, Munich, 191 5 (Eng-
lish tr. by M. D. Hottinger, New York, 1932).
21. Cf. Hanna Levy, Henri Wolfflin, Sa theorie. Ses predecesseurs, Rott-
weil, 1936 (a Paris these).
22. H. Wolfflin, "Kunstgeschichtliche Grundbegriffe: Eine Revision,"
Logos, XXII (1933), pp. 210-24 (reprinted in Gedanken zur Kunst-
geschichte, Basel, 1941), pp. 18-24.