Carl Schmitt’s son Jacob has written extensively on his father’s life, work, and aesthetic philosophy. This excerpt discusses Schmitt’s awakening to the unique contribution of Rome not simply to world culture in general, but the interiority which is vital to any authentic endeavor in the arts.
While on a second honeymoon in 1934, after visiting Dalmatia and the little towns of Korčula, Split, and Dubrovnik along the Adriatic where he had visited as a student, Schmitt continued to Venice, Florence, and Rome. One afternoon, while sketching the gigantic ruins of Septimius Severus palace in Rome, he once again was reminded of the significance of place. Nowhere, he recounts in his notes, had he found as here in Rome, a sense of permanency and interior quietude. This “realization” was first experienced during his student years in Italy, but here and now, in the Eternal City, he found a more profound, conscious realization of it—a sense of what he first called “interior being.”
Palace of Sepimius Severus, c. 1940, oil on canvas, 36 x 30 in.
“The Fine Art of Architecture did not appear until the creative genius of Rome brought it into being,” Schmitt wrote in 1956. “The poetry of interior space with shadow had to be revealed in the Pantheon the baths and the basilicas of Rome before the paradox of the Fine Arts was proclaimed.”
His mind went back to the time when these ancient ruins, the Theater of Marcellus, the Baths of Caracalla, and the still-standing Pantheon, were built with massive archways and vaulted ceilings that soared to the heavens with a glorious spacious interiors—what he later called the form of interior space.
These magnificent interior structures were created by and signified, in his mind, an interior, personal maturity not seen in any previous age. Here in Rome, he thought, was what the true Renaissance was seeking—the manifestation of a full human person who recognized the superiority of an interior, familial life over the social, political life endemic of the Grecian contribution. Rome had turned inside out all that it had absorbed from the idealized, aesthetic Grecian culture. It had unified all the scattered Grecian city-states into the one centralized political system of Rome—Urbe et Orbe (the city of Rome and the whole world).
Pennsylvania Station, etching, dated June 16, 1916.
The great hall of the massive Beaux-Arts structure in New York City, now demolished, was modeled after the Baths of Caracalla in Rome.
Thus, for Schmitt, the Roman sense for interior space became a more inclusive realization and expression of reality. It had the advantage of an interior vision of seeing things from the “inside out” rather than from the Platonic-Grecian idealized vision of looking “on” or “at” things from the “outside in.” This was a more personal development without which no true perfection in anything could be developed. Here was the central aspect of his aesthetic dramatic stage more fully realized.
No wonder, he thought, that this interior form of the Roman Republic was able to permeate, absorb, and inform the then-known world. No wonder Peter and Paul, guided by the Holy Spirit, found themselves in Rome transforming this personal, pagan, interior maturity—first prepared for by the realization of the hidden interior nature of reality found in Aristotelian thought—into an interior Christo-centric reality.
Interior of St. Mark’s Cathedral, Korčula, Dalmatia, pastel on paper, June 16, 1926
“The era of Augustus with its grandeur and peace could never have occurred without magnificent virtue, and it is only on such magnificent natural virtue that the supernatural virtues of Christianity can be placed, if they are to survive (short of miracle).” (1943)