tance of Princeton’s classes for the training of art
historians at the time, familiarity with Riegl would
hâve been disseminated through Princeton students
who themselves became important professors, cura-
tors, and directors.70
This is certainly the case with Riegl’s resonance in
studies of non-Western art in the United States. In
the light of the invocation of Riegl by proponents
of world art history, it is indeed puzzling that one
critique has dissociated him from the possibility of
envisioning a globalized view of the field because
of the supposedly Eurocentric bias of his optical
théories. 1 Even before Riegl’s texts had been trans-
lated into English Wen Fong was in fact alluding to
Riegl’s théories in his teaching and in his publications
on Chinese painting.72 Many origins for an expanded
view world art history exist in the historiography of
art c. 1900,73 and Riegl is one of them.
In an aphorism that has been made famous by
Riegl’s sometime critic Panofsky,74 Walter Cook, the
first director of the Institute of Fine Arts of New
York University, compared the immigrants who
came to New York with splendid apples that Hitler
shook from the German tree and that feil into his lap.
Although Panofsky himself lived in Princeton, and
also was associated with the Institute for Advanced
Study, the Department of Art and Archaeology and
its members hâve been granted only a small role in
this process. But if we use Cook’s unfortunate, if
ironie, metaphor, Morey may be said to hâve been
involved with directing the apples’ fall. Morey ad-
vised Cook, who had studied with him and remained
close to him, and suggested immigrant scholars to
be invited to New York. Similarly Morey was also

70 There are other instances of early familiarity with Riegl, but
this story should be sufficient to dispel the recent myth.
71 Cf. DAVIS, W: World Art Studies. What, Why, How. Course
offered at the University of California, Berkeley, webpage
accessed January 20, 2009.
72 See for example FONG, W: The Problem of Forgeries in
Chinese Painting: Part One. In: Artibus Asiae, 25, 1962, No.
2-3, p. 108; FONG, W.: Chinese Painting. A Statement of
Method. In: Oriental Art, 9,1963, p. 77.
73 See PFISTERER, U.: Origins and Principles of World Art
History: 1900 (and 2000). In: ZIJLMANS, K. - DAMME, W.
van (eds.): World Art Studies: "ExploringConcepts and Approaches.

an adviser to Abraham Flexner, who was at the
time setting up the Institute for Advanced Study: he
suggested that Panofsky as well as other émigrés be
hired. Morey was moreover responsible for bringing
Panofsky to live in Princeton in the first place: in
1934, a year before he was appointed at the Institute,
Panofsky was offered housing on Prospect Avenue
in exchange for teaching in the Department of Art
and Archaeology. Panofsky thus taught at Princeton
University before he was a member of the Institute
for Advanced Study.7’ Panofsky was also to teach
regularly in the Department thereafter.
It was also Morey, perhaps on the recommenda-
tion of Albert Friend, who brought Weitzmann to
Princeton to work on illustrations of the Septuagint,
even though he had a different interprétation of
the subject.76 Morey also recommended him to the
Institute for Advanced Study. Weitzmann suggests
that Morey deliberately tried to hâve the Institute for
Advanced Study create complementary positions to
those in the university. 7
This suggests that other reasons may be sought
for the reason why émigrés may not immediately
been appointed as professors in the Department of
Art and Archaeology, as distinct from visiting profes-
sors. More opportunities were available in a new insti-
tution with resources, like the Institute for Advanced
Study or the Institute of Fine Arts in New York, than
at Princeton University, which was under financial
pressure during the Great Depression.'8 Despite its
comparably great wealth at present, this wealth has
largely corne in more recent, post-war years. In any
case, the well established and comparatively large
faculty in the Department of Art and Archaeology
Amsterdam 2008, pp. 69-89.
74 PANOFSKY, E.: Der Begriff des Kunstwollens. In: Zeitschrift
für Aesthetik und allgemeine Kunstwissenschaft, 14, 1920, pp. 321-
339.
75 See PANOFSKY 1954 (see in note 2), p. 8; WEITZMANN
1994 (see in note 36), p. 87.
76 WEITZMANN 1994 (see in note 36), p. 77.
77 Ibidem.
78 See the various entries in LEITCH, A.: Princeton Companion.
Princeton (NJ) 1978, passim.

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