[See page image]

Page 312

Sabina Church in Rome is a fine example, so far as archeological purpose goes. Terra-cotta and the noble metals furnished material also, while the furni= ture of church and home provided other ground for work. Here the lamps were especially selected for ornamentation with cross, monogram, animals, plants, secular and sacred figures or scenes. A long list of clay and metal objects also offered a basis, while portals, pillars, railings, ambo, and other objects were enriched by ornaments of this kind. Of statuary proper, especially of a monumental character, little has come down, though there is literary testimony to a once abundant material. Among extant examples, the good shepherd takes the first place. While the brazen statue of St. Peter in the Vatican is of the thirteenth century, there is one of marble of early date, and the seated Hippolytus in the Lateran is of his own times, though modeled on antique lines.

II. The Middle Ages: As the spiritual life of the Carolingian period took its departure from classical tradition, so the plastic arts followed the same trend. While the Germanic tribes, as they came into the sphere and under the influence of the Roman culture, recognized and bowed to the imposing force of

these forms, they yet retained their i. Influence own genius which shone out with

ivory, and the lineage of the work was Roman, with a relatively high facility in execution. But there is often to be discovered the naive freshness of German genius. In lands like Ireland and England, where Roman influence was leas direct, the native genius is still more in evidence. In France there were many centers for this class of productions, in Germany the Lower Rhine was the busiest workshop, though northern Germany had an artistic carver in TuotiIo of St. Gall. The eleventh-century architecture, developing out of the old Carolingian style, gave opportunity for the development of sculpture. On the outside the space over the portal was employed; while on the inside capital, baptismal stone, ambo, and the cultic objects formed the ground for this sort of adornment. The plastic arts took their place alongside of painting and served on the great surfaces to set forth the symbolism of Christendom. This is especially true of Germany (Hildesheim, 1015; Augsburg, 1060; and the doors for Novgorod, Gnesen, and of St. Zeno in Verona, all from German hands). The conception follows the trend of the architecture and is decorative in purpose, the pattern is antique with little tendency to novelty; in the carving of ivory (book covers, diptychs, chests, croziers, and the like) Carolingian influence often remains unbroken, while at times independent observation and execution are apparent, especially in a Saxon environment. Monks and the clergy were the principal artists of the eleventh and the twelfth centuries.

After a slow development in the twelfth century, under the stimulus of Gothic architecture, German plastic art of the Middle Ages reached its culmination in classic completeness and monumental creations, the Saxon countries being in the lead. Wechselburg, Freiburg, and Naumburg furnish the

period. While in South Germany masterpieces are

found, French influences, naturally, are

z. Results stronger-indirect in Bamberg, direct

of Gothic in Strasburg. The tendency was to

Develop- give way to individualistic expression

meat. in the concrete, though the means

chosen were not always happy; there

was moreover the effort after a harmony between

the solemnity of place and of purpose and individual

life. The ideal was more subjective and artistic,

though the tradition of the twelfth century was not

abandoned. France also in the twelfth century ex

perienced a lively development in plastic art, in

which the schools of Provence, Toulouse, and Bur

gundy were prominent, and this development was

not uninfluential even in Spain. Roman traditions

are in evidence still, with a fondness for adornment

of entrances. The thirteenth century, that of the

Gothic style of architecture, brought about a dis

tinct revolution. The mighty structures which

arose, especially in the central provinces of northern

France, demanded, with their imposing doors and

lofty and richly membered architecture, a wealth

of statuary and relief work. With enthusiasm the

plastic art took up its task and achieved the clas

sical completeness of Christian imagery. Painting,

equally zealous, followed the lead and limited itself

no more to figures, scenes, and groups, but set forth

the whole drama of salvation from the creation to

the judgment. Fancy had full play, while the Bible,

legend, popular and learned conceptions, history,

and typology combined to furnish the subjects (cf.,

e.g., the cathedrals of Chartres and of Reims). Yet

the call of architecture imposed its limits upon

sculpture, within which there were a depth of sen

sibility and a fineness of observation which justifies

comparison with the antique. The general effect

was that of a more youthful and graceful style than

obtained in Germany. Especially in the portrayal

of the person of Christ this century surpassed all

previous ones, and long stood in the lead. In this

and in the figures of the apostles the Renaissance

was anticipated. Hence French influence flowed out

to the neighboring lands. So strong was this in Ger

many that connection with the past was practically

broken. With this development came also applica

tion of this art to the cultic objects, even the most

insignificant, and color was used to enhance the

effect; additional to stone as materials were used

wood, stucco, the precious metals, and enamel.

The Netherlands felt even more forcibly than Ger

many the influence of France. In England native

elements mingled with the French. In Italy during

the eleventh and twelfth centuries there were

mingled the various streams of Byzantine, Roman,

and Lombardic art. In the thirteenth century Pisa

led the way to a higher exposition through Niccolo

Pisano, a man thoroughly and intelligently ground

ed in appreciation of the classical ideals of beauty,

while his son Giovanni was even more influential.

In the East, Christian art employed itself with archi

tecture and painting, the early prejudice against the

plastic continuing. Carving in ivory is the one

branch of this art which reached eminence there.

III. The Modern Period: In the fifteenth century