Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (43.2010)

subordinated to one universal history of the classi-
cal norm of artd However, the idea of the plurality
of specihc local historiés did not disappear for ever.
For example, it was Italian patriotism that motivated
Luigi Lanzi's conception of Italian art as a plurality of
geographical schoolsc The plurality of local specihc
historiés was, however, already subordinated to the
universal ideal. Nevertheless, the way to the pluralism
of nationalities was openb
In the era of Napoleon, the idea of the universal-
ity or universal character of history became an in-
strument of global imperialistu. Frenchpoliticaland
cultural hegemony provoked as a reaction a critical
révision of Enlightenment beliefs in a universal civi-
lisation. German thinkers, especially the Romandes,
emphasized pardcularity in opposidon to universality,

^ "HzzzHzyP^ G?A Az* G<gřzz.svA zbG/ — zzzzzAzyA Fór Azzz zpüAzz 7 à'.
FzA/zzzzAzf... Az*zwA<? Ezz<? Gzz'CETíz'i?zvz*Gz'q wzz Azz ^zz^zz bpz'A^zz
ArřZzrzpAyGřzz TzzzzE Az*zzwEz"^zzzzz řzz^Gzz zPC^/zzz Kzzzzr^tGG<?zz."
— MUTHESIUS, S.: Universal, lokal - europäisch, national:
Fragestellungen der frühen Kunstgeographie im späten 19.
und frühen 20. Jahrhundert. In: DzP TzzzzEAEcz7pgz"zp/zPzz z'zz
OEGzYGzzz*yM zzzzP Ar zzGzPzzAř DzAzztf. Eds. R. BORN — A.
JANATKOVÁ - A. S. LABUDA. Berlin 2004, p. 69.
^ LANZI, L.: Aonhy/EoGzz AAz ÍGÁh A/ näcz^zGgzzz'o AA AA
zzG'Azzpr^rjc GJzzzř A/JVTTII třtG. Bassano 1809.
^ Lanzi followed Vasari's identiheation of the local (m Vasari's
case Florentine) with the universal, but he related it to Italy as
a whole. As a conséquence, the universal was regarded as natio-
nal. "Dzv R&fzAGztvr A'<? řrE<? zzzzAzza/z ADPrřzgřvAGA Af... PP
Ez'zzAÉ Ar AÍGzPzz CzzzzEArAhrG ďPAAEř." — BICKENDORF,
G.: "Kunstgeschichte" als Geschichte der künstlerischen
Schulen und als Gattungsgeschichte. In: PFISTERER 2007
(see in note 2), pp. 33-34. According to LOCHER 2001 (see
in note 2), p. 197, in špite of the idea of Italian painting as
a whole, "Gz yřzzzGzjv/zz&r IFAřzz Ar zAAzzz'vAzz TzzzzE z'E zzz'Gz*
GřgřzzE^zzP Ar Dzzrr/GzzzzR of Lanzi's "ÜAzM". More about
Lanzi, see BICKENDORF, G.: Luigi Lanzis "Storia pittori-
ca deRa ItaRa" und das Entstehen der historisch-kritischen
Kunstgeschichtsschreibung. In: JAzrAG Ar ZřzzGzAzEÉzErJz/'r
Xzzzzr^rGz'GE, 2, 1986, pp. 231-294; BICKENDORF, G:
Luigi Lanzi. In: TLzyVzrřtA ArTzzzzr^vAGErGrEPzzzzg. Ed. P.
von NAREDI-RAINER. Stuttgart 2010, pp. 269-271.
Jean-Dominique Vivant Denon's arrangement of the Louvre
(the Musée Napoléon) on the principle of national schools
can also be understood as a présentation of the symboRc sei-
zure of the world or as a world-dominating museum. On this,
see POMMIER, E.: Hr MzzEA řzz Ezznpř z? /P zGA A /Pzzr^rz'zzrg
PzzTzwrrř. Paris 1995; McCLELLAN, A.: izzr^zzhzyyTozzrrt'. Mr/

replacing the idea of humanity or the universal man
with the idea of the nation or ethnie groupe Instead
of emphasising the idea of natural rights as under-
pinmng the equality of peoples, they ušed arguments
regarding historical rights in support of the historical
equality of At the same dme, they cast doubt
on the universal validity of the classical canon and
sought to validate anti-classical national styles of
artA Thus, it is only logical that the idea of universal
history was reformulated in a fundamentally new
way. J. G. Herder conceived the history of human-
ity as a relay race of nadons, a sequence of historie
initiatives by individual nadons." Herder's emphasis
on the pluralistic character of history, which did
not reject faith in the common basis of humanity,
was radically developed by German historicism
PAPA, zzzzzAA Ozýyzzzjzp GřAÍGřrzzAízzr<zzzzzzz'zzEyAřřGAGeGzzry
JAG. Berkeley - Los Angeles — London 1994, pp. 124-154,
particularly pp. 147-148; GAEHTGENS, Th. W: Le musée
Napoléon et son inhuence sur l'histoire de l'art. In: HzEozA
P? /AEAr<? A /Gïlf. ATTI? EATV EGA. Ed. É. POMMIER.
Paris 1997, pp. 89-110. See also SHEEHAN,J. j.: Mzzr^zzzzzrz'zz
Gř GřtwzzzzHE IFPrA. Tfzzzzz Gř EzzP A Gř O/P RqizPzř A Gř Rzli?
of AíoArArzzz. Oxford 2000, pp. 50-52.
As Stefan Muthesius expressed it, in German culture " TUA'...
zzv/rA ^A'r ^ NGzPzz' ". — MUTHESIUS 2004 (see
in note 4), pp. 73, 75. According to Reinhart KoseReck:
"TP/F zrz'rA.. Ezz jpřy^rG AzzEG^rKczzyz^zzrGAzzr^^gzy) Ar Gz-
Atřzz roAq zrzzr AryG^yAAGř AGGAr Gt. *zzGzhzzh. wzvzrCEGz'
yy GAzz rGzG." "RGA' /z*AÀ/--- yzzzw OAG^zzR /Gy^, Ar izA
TG'zzA zzAr TArtfzz, RfgGr<?zzAzz zzzzP ILgdGzz GzzrGArE" Thus,
"rGEzzAr rczpzzAAGř dprzzGzzGz'czz'... ^GGE/7yřgřzz A<?yG^yA
ErGg A^TydAlGz'ozz, Ar... AzzzEA LPA ^zzrEzzzPřÉ^y/Py/PzzG'.
- KOSELLECK, R.: Volk, Nation, NationaRsm, Masse. In:
GřrGzGGPA GrzzzzAřgzyy. Stuttgart 1997 (D ed. 1978), Vol.
7, pp. 142-151, here pp. 147-149. GeneraRy speaking, Ger-
man notion "Volk" emphasized ethnie origin unkke French
sociologicaRy conceived notion of "la nation".
' See IGGERS, G. G.: TA G<zrz%wzz Gczzry/zPzz A HzGzry. TA
NGzPzzA TrAEzPzz y Tfz'EzznPA TPoz^Pz*ykczzz H^rAr A /A Trřvzzzt
Middletown (Conn.) 1968, pp. 3-28.
As is weR known, they thought they had found it in medieval
art. On this, see FRANKL, P: TA GcGzk Tz'Erzzry 3Pz/rt<?r ^zzzp
IzzEzprEGzPzzr GrczzgP CřZZzEzAr. Princeton (NJ) 1960, pp.
415-488; KULTERMANN, U.: Histoire de l'art et identité na-
tionale. In: POMMIER 1997 (see in note 7), pp. 223-247.
" "TGrAG zzGzPzzAEzz zyzzr Gz'z/ rovzztpAGzz A jpAz*. EzzG zzGzczz
rczzG'AzG A Gř EGzzřrr y Azzwzz zpř." — IGGERS 1968 (see in
note 9), p. 4L See also LOCHER 2001 (see note 2), p. 205.

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