A

HISTORY

OF

SCULPTURE

"

"

BY

HAROLD

PROFESSOR

NORTH

IN

Ph.D.

FOWLER,

WESTERN

RESERVE

UNIVERSITY

ILLUSTRATED

Neto

THE

gorit

MACMILLAN

COMPANY

1916

AU

HghU

reMrvtd

,"

"
"

"

COPTBIOBT,

the

bt

Set

and

up

1916,

macmillan

company.

PnbUshed

electrolyped.

Kortoooli
J.

8.

Gushing

1916.

ffxt""
Berwick

Co.

A,

"

Norwood,

May,

Mass.,

U.S.A.

Smith

Co.

the

In

by

one

torch

after

runner

it

passing
twenty

course,

of

the

gloom

brightness
heartfelt

to

have

you

friendship

for

of

gratitude

keeping

successively

to

and

friendship

affection

you.

30

1988

So

for

of

that

alive

than

dedicate

lege
col-

your
the

has

and

more

tradition

lightened

happiness.
I

alive

through

and

days

my

blaze

has

discouragement

and

warmth

kept

carried

was

the

run

and

on

That

me.

torch

successor.

handed

sorrow

and

his

have

you

burning

each

to

as

the

another,

undimmed

years,

Athens

at

race

for

lent

It

this

me

added

is

with

book

PREFACE

In

of

history
Egypt
the

of

book

this

Babylonia

to

Far

is

treated

East

existence,

of

For

sculpture.
lack

of

of

aborigines,

With

the

of

all

in

ancient,

available

information
of

series

employed

in

has

be
of

some

ters

be

increased,
have

names

sculpture,
that
I

this

have

is

public
for

included

thereby

and

Since

references

have

believing

those

made,

general

the
to

and

to

have

chosen

that

of

of

authorities
"

vu

"

book

the

that

aware

tlie

in

cliapthan

important

for

scholars,
for

of

had

choice

to

could.

students,

enlightenment
my

less

intended

young

methods

of

A
I

cism.
criti-

considerable

quite

am

mentioned.

handbook,

usefulness

best

history,

dictionary

book

no

the

Introduction.

especially
be

and

and

the

scriptions
de-

detailed

Compile

omitted,

as

such

is

no

though

sculpture

concerning

materials

the

may

of

book

the

the

in

account

disposal

in

contained

purpose

my

names,

the

of

some

been

modern

on

is

omitted.

with

attempted
the

Oceania,

an

art

my

Since

of

description

but
of

would

essays,

can
Ameri-

of

information
at

have

the

by

account

the

include

times,

space

permit.

sculpture

not

sculptors,

the

it

on

tribes

to

modern
and

separate

altogether

in

works
as

brief

of

tried

fectly
per-

affected

upon

sculpture

developments
and

led

also

been

in

am

not

and

the

has

have

individual

artists

number

races,

mediaeval,

individual

It

negro

peoples

important

of

the

limitations,

these

not

the

backward

other

and

merit,

has

exerted

reasons,

the

sculpture
I

as

has

influence

similar

intrinsic

it
but

art,

the

The

and,

because

of

civilization

day.

briefly

own

of

of

present
very

our

spite

in

its

the

sketch

beginnings

insufficiently,
of

give

to

the

and

development

Greek

attempted
from

sculpture

conscious,
the

have

statements

the

not

of

use

of

work

have

not

of

the
search
re-

given
fact

or

viii

PREFACE

of

expressions
for

opinions

them

concerning

to

consulted,
I

Bibliography,

M.

of

wish

express

for

an

book

Cheek
the

directors

of

Art

New

in

for

Boston

gift

of

Macmillan
has

rich

been

endured

wishes

been

-the

and

illustrations

concerning

my

the

Fine

their

heartily

cordial

the

which

other

matters

consulted.
HAROLD

Western

Hesekvk

Cleveland,
March

31,

1910.

University,
Ohio,

of
and

loan
or

N.

to

my

with

liberality
and

works

charge,
by

in

Arts

grateful

with

patience

to

Museum

of

me

of

1909),

of

assisted

am

for

Company

Handbook

photographs

photographs.

employed

Metropolitan

under

have

who

Museum

publish

Book

Company,

the

collections

friends

kind

the

the

the

the

Histaire

great

Wheeler,

the

to

many
in

already

Book

and

permission
in

sculpture

and

curators

the

American

use

of

York

the

the

to

American
and

to

collaborators.

(Prowler

Archaeology^

attempt

no

are

material

to

my

with

included

to

my

permission

earlier

in

his

but

Of

which

thanks

to

Company

and

Michel

made

indebted

most

am

VArt

de

of

of

disagree

rule,

have

then

works

book,

predecessors.

my

titles

the

as

and

my

books

not,

the

the

in

do

writers,

previous
indebtedness

hide

to

discussed

or

of

most

seen

described

of

have

and

cases,

reasons.

sculpture

few

in

except
I

especial

those

opinion,

FOWLER.

The

delay
which
have

CONTENTS

PACK

Iktroduction.

I.

II.

Materials

EovPTiAN

Methods

and

Sculpture

of

xix

Sculpture

Babylonian

Assyrian

and

Sculpture

24
.

III.

Hittite,

Persian,

Phoenician,

Cypriote

and

Sculpture

41
.

rV.

Greek

Sculpture.

The

Prehellenic

Archaic

and

Periods

V.

VI.

53

Greek

Sculpture.

The

Fifth

Greek

Sculpture.

The

Fourth

Century

77

Century

108
.

VII.

Vni.

Greek

Sculpture.

Etruscan

The

Hellenistic

Period

125

Sculpture

139
.

IX.

X.

XI.

Roman

Sculpture

Byzantine

148

Sculpture

166

Mediaeval

Sculpture.

Mediaeval

Sculpture

in

France

197

XIII.

Mediaeval

Sculpture

in

Germany

216

XIV.

Mediaeval

Sculpture

Mediaeval

Sculpture

XII.

XV.

XVI.

Sculpture

Early

XVII.

Sculpture

of

the

Italy

173

England

in

227

240^

Spain

in

Renaissance

Italy.

in

The

Renaissance

of

the

Developed

and

257

Renaissance

Late

the

Italy.

in

The

Renaissance.

The

Baroque
XVIII.

Sculpture

288

of

Renaissance

the

in

France

301
.

XIX.

XX.

Sculpture

of

Sculpture

of

AND

Renaissance

the

the

IN

Renaissance

England
ix

in

in

Germany

the

316

lands
Nether-

327

CONTENTS

CHAPTER

PAGE
,

XXI.

Renaissance

Sculpture

the

of

in

Spain

335
.

XXII.

Modern

Sculpture

Modern

way,
Nor-

Sweden

AND

XXIII.

Denmark,

Italy,

in

346

France

Sculpture

Belgium

in

353

ani"
.

XXIV.

Modern

Sculpture

Germany,

in

Spain,

and

Russia

XXV.

XXVI.

Modern

368

Sculiture

Sculpture
in

in

the

Great

United

Britain

378

Sculpture

Far
in

States

388
.

XXVII.

East

India,

the

China,

and

"

Japan

Bibliography

407

419

\/^

OF

LIST

The

of

Hermes

ILLUSTRATIONS

Praxiteles

(Brunn-Bruckraann,

466)

Denkmdler,

Frontispiece
NUMnXR

1.

PAOK

of

Palette

King

Narmer

Aegyptiitchen

(Borchardt,

Museum

Kunatwerke
PI.

Cairo,

zn

dem

aus

19)
.

2.

Sheik

3.

Statue

4.

The

Beled.

el
of

Cairo

The

Scribe.

Knemuhetep.

Dwarf,

Paris

Louvre,

Cairo

7
....

6.

Upper

of

Part

Diorite

Statue

of

Khafra

King

Cairo

(Chephren)

6.

Mycerinus

7.

Wooden

8.

Relief

and

9.

from

Panel
from

the

xeerke

Tomb

of

1 0.

Cairo,

6.)

from

the

Tomb

New
11.

Statue

of

KunstPI.

12

2*2.)

III.

Amenemhet

Cairo

Museum

Aegyptischen

dem

aus

8
11

Cairo,

zu

King

Ai-te

(Borchardt,

Museum

Kunstwerke
PI.

Relief

Cairo.

Aegyptischen

Fine

Cairo

Hesy-re.

Sabu.

of

the

(Borchardt,

of

Tomb

of

Museum

Boston,

the

dem

aus

Part

Upper

Queen.

his

zu

"

of

Metro])olitan

Menthu-weser.

Maseum

16

York
of

Facade

15

Great

Rock-hewn

Temple

Simbel

Abn

at

18
.

12.

The

Goddess

Mut.

Cairo.

Aegyptischen

(Borchardt,

Museum

13.

PI.

Cairo,

zu

Kunstwerke

an

dem

19

)
.

13.

Reliefs

in

the

of

Teinple

Seti

20

Abydos

at

14.

Upper

of

Part

Statuette

of

Karomauia.

Queen

The

Louvre
21

Paris
16.

Fragments

of

16.

Statue

17.

Stele

18.

Statue

of

Gudea,

19.

Tablet

of

Nabu-aplu-iddin.

Sarzec,

the

**

Stele.''

Vulture

Decouvertes

The

PI.

Chaldee,

en

Paris.

Louvre,

"*'".)

25
.

from
of

Bismya.

Constantinople

Naram-Sin.

The

20
Paris

Louvre,

27
.

from

The

Lagash.

Louvre,

Paris

28
.

British

30

Museum
.

20.

Asshumazirpal

and

21.

Asshumazirpal

Hunting.

22.

Relief

23.

Weight

24.

Wounded

from
in

the
the
Lioness.

Palace

Form

British

Eunuch.

British
of

of

British

Museum

33

Museum
II.

Sargon

Lion.

Bronze
Museum
xi

34
The

Louvre,
The

Louvre,

Paris
Paris

36
37
38

^ffum^^B
New

urn,

Metropolitan

b.c.

York

Statue

"te

560-500

about

about

500

Metropolitan

b.c.

Museum,

ork

of

lent

Stucco

School

British

Relief.

Museum

Athens,

at

Candia.

at

VH,

(Annual

17.)

p.

Vase.

8t

Museum

itoises,
of

I,

pi.

(Brumi-Bruckmann,

from

of

tte

of

(Maraghianis,

Vaphio.

Gold

Tenea.

Ivory.

from

Figure

of

Fine

Boston

Arts,

(Brunn-Bruckmann,

Branchidae.

151)

Athens

Museum,
Museum

Munich.

PI.

Denkm"ler,

National

and

"

Antiquit

xxii.)

Mycenae.

/ups

Candia.

at

1.)

British

Museum.

(Brunn-

ruckmann,
d

142.)
of

Figure

the

Chian

)runn-Bruckmann,

Athens.

Museum,

458.)

Group

ent

Acropolis

School.

from

the

of

Treasury

the

Delphi

Siphnians.

from

Archaic

an

Temple.

Corcyra

(Corfu)
.

Statuette

from

ickmann,

of

Treasury

Varrior

Louvre,

Paris.

(Brunn-

456a.)

thorus.

Acropolis

^rom

Delphi

Sicyonians.

Munich.

Acropolis

ckmann,

6,

the

Aegiua.

rom

Typhon.

n,

The

78.)
the

rom

Piombino.

(Brunn-Bruckmann,
Athens.

Museum,

Museum,

Athens.

28.)

(Brunn-

(Brunn-Bruck-

Ersatz.)
of

Temple

nn-Bruckmann,
idicated

in.Rnimlrninnn

Acropolis

Athena.

Museum,

Athens.

471.)
by

Acropolis

Euthydieus.
d.'^Q

Museum,

Athens.

"

LIST

ILLUSTRATIONS

OF

PAOI

KITMBKlt

58.

"

XUi

Paeonius.

by

Victory

(Brunn-Bruckmann,

Olympia.

84

444.)
.

54.

Discobolus

by

Myron,

reconstructed

as

in

National

the

Museum,
80

Rome
55.

and

Athene

Marsyas,

rest^jred

as

in

Archaeological

the

Museum,

Munich
50.

87

Varvakeion

The

National

Athena.

Athens

Museum,

89
.

57.

Head

Bronze

of

Archaeol.
58.

The

59.

So-called

of

National

(Brunn-Bruckmann,

of

Metope

Heraion

(Wald.Mtein,

Argos,

of

Ex93

pl- v.)

1892,

the

Athens.

Museum,
the

at

British

Parthenon.

Museum.

Bninn-Bnick-

95

184.)

mann,
the

"asteni

of

Frieze

Athens.
62.

Naples.

92

Hera.

From

90

pi. ii.)

Ersatz.)

61.

Oeaterr,

d.

{Jahreshefte

Polyclitus.

cavations
00.

XIV,

Institutes,

Doryphorus
273,

Vienna.

Zeus.

the

Parthenon.

(Brunn-Bruckmann,

So-called

from

Theseus,

tiie

Acropolis

Museum,
96

194.)
British

Parthenon.

98

Museum
.

63.

So-called

from

Fates,

(Brunn-Bruckmann,
64.

of

Schwerzek,
65.

Caryatid

67.

So-called

68.

Heads

Paitheiion,

a.s

reconstructed

Karl

by

100

Balustrade

the

Acropolis
66.

the

Vienna
of

Fragment

99

\\!i(S.)

Pediment

Eastern

Museum.

British

Parthenon.

the

the

Temple

the

Nike.

Athena

Athens

Museum,

from

of

of

108

Erechtheum.

British

Museum

.105
.

Mourning
from

Cnidian

I, pi.

after

Satyr

371

106

{Antike
110

casts.)

I'l-axiteles.

from

Athens.

Museum,

from

Praxiteles.

Bruckmann,
71.

35

after

Aphrodite,
Bruckmann,

70.

National

Tegea.

Denkmdler,
69.

Athens

Athena.

Vatican.

The

(Brunn114

cast.)

Capitoline

Museum,

(Brunn-

Rome.

877.)

Apoxyomenos.

The

115

Vatican.

(Brunn-Bruckmann,

117

281.)
.

72.

Statue

73.

From

of

Delphi.

Agias.

de

{Bulletin

Corr,

llelUn.^WMl,

pi. xi.)
the

118

Frieze

of

the

Mausoleum.

British

Museum

.121
.

74.

Sarcophagus

75.

Monument

76.

Alexander

77.

Demosthenes.

of

the

Mourners.

Constantinople.

.122
.

of

Hegeso.

Athens.

Sarcophagus.
The

(Brunn-Bruckmann,

Nike

from

125

Vatican

Samothrace.

85,

Ersatz.)

123

436.)

Constantinople
.126
.

78.

The

Louvre,

Paris.

mann,
(Brunn-Bruck127

"

xiv

LIST

OF

ILLUSTRATIONS

NFMBER

PAOI

7ft.

Aphrodite

80.

^'

from

Melos.

The

Paris

Louvre,

130
...

Athena

*^

Group

from

(Bnmn-Bruckmann,
81.

The

82.

**

Altar

Pergamon.

at

Berlin.

484.)

132

Vatican.

The

Laoooon.

Great

the

(Brunn-Bruckmann,

236.)

134
.

Genetrix."

Venus

Paris.

Louvre,

(Brunn-Bruck-

473.)

mann,
83.

The

136
.

from

Sarcopliagus

Sidamara.

Constantinople

138
....

84.

of

Sarcophagus

Seianti

I, pi

Denkmaler,

British

Thanunia.

Museum.

(Antike

20.)

143
.

86.

Tlie

Florence.

**Arringatore."

(Brunn-Bruckmaiin,

320.)

146
.

86.

from

Relief

the

of

Altar

Peace.

IJffizi

Florence

Gallery,

162
.

87.

Scrollwork

Decorative

from

Altar

the

of

Uffizi

Peace.

Gallery,

Florence
88.

153
from

Augustus,

8ft.

Panel

ftO.

Relief

Bust

ft2.

Relief

The

Porta.

Vatican

166
....

of

Rome

Titus,
of

Column

the

on

of

Arch

the

from
91.

Prima

167

Trajan.

(Bnum-Bruckmann,

400

168

ca.sts.)

of

Antinoua.
from

The
of

Base

the

Paris

Louvre,

161

Column

the

of

(Brunn-Bruckmann,

Vatican.

Antoninus

The

Pius.

162

210.)
....

Penthesilea

()'".

Achilles

and

ft4.

Colossal

Bronze

ft6.

Sarcophagus

Statue
in

Sarcophagus.

Roman

The

Vatican

163

Barletta

at

169
170

Ravenna
.

ftO.

Reliefs

Ivory

from

the

Throne

'*

Ravenna

Maximian."

of

171
.

97.

Panels

of

.176

Ravello

Door,

Bronze

98.

Group

of

Columns.

99.

Pulpit

in

the

UH).

Pulpit

101.

Tomb

102.

Panels

of

is

Baptistery

de

the

Pisa

at

185
.

in

formerly

Pisano

Nicola

by

Cathedral

the

Pisa

at

188
18ft

Orvieto

Braye

Bronze

Vittorio

by

178

Pisano

Cardinal

of

Monreale

Giovanni

by

Door,

of

Son

Ghiberti,

Pisano.

Andrea

by

(The

Frieze
191

Lorenzo.)
....

103.

The

104.

Tomb

105.

Decoration

and

Creation
of

Fall.

the

Signorio.

Can
of

the

Porta

laS

Orvieto

194

Verona
.196

Florence

Mandorla.

della

from

100.

Capital

107.

Relief

108.

Tympanum

109.

Part

from

of
the

110
111

Statues
Statues

St.

the

fetienne.
V^zelay

Facade

Trocadfiro,

of

198

Clermont-Ferrand

at

of

the
the

Western
Southern

the

(from
of

IJift

Toulouse

St.

cast

in

the

Aries

Trophime,

Trocad^ro,
(from

Porch

cast

200

in
202

Paris)
Facade

the

Paris)

of

206

Chartres
....

of

206

Chartres
....

OF

LIST

ILLUSTRATIONS

XV

KUMBIH

12.

PAQI

of

Statues

Western

the

of

Facade

Hheims

.207
.

13.

of

Tympanum
of

Door

St.

Transept

the

Door,

Second

in

cast

Side

Southern

Southern

Stephen

the

(from
14.

the

Half

of

Notre

of

Thirteenth

Dame,

Paris;
Century

Trocad^ro)

Amiens

208
dor^

Vierge

(the

the

on

middle
211

support)
16.

The

de

Puits

Dijon

Moise,

the

(from

in

cast

the

Trocad6ro,

Paris)
16.

Mourners

Trocad^ro,

the

of

Tympanum

from

Tympanum

John

the

Dijon

Fearless,

(from

casts

214

Paris)
"Goldene

the

F.Stoedtner,

Dr.
18.

of

Tomb

the

on

in
17.

213

Pforte,''

Berlin,
the

(Photo.
219

NW.)

Georgenchor,"

**

Freiberg.

220

Bamberg
.

19.

The

Synagogue,
Berlin,

ner,
20.

and

Tempter

(Photo.

Dr.

222

Virgins

Stoedtner,

F.

Dr.

Foolish

Berlin,

Cathedral.

Strassburg

223

NW.)
.

21.

the

of

Tympanum

Stoedt-

F.

NW.)

Tempted

(Photo.

Cathedral.

Strassburg

Frauenkirche,

Nuremberg

(from

225

cast)
.

22.

Portal

of

Cathedral.

Rochester

Mansell.)

(Photo.

228
.

23.

Part

24.

Tomb

of

Facade

of

Cathedral.

Exeter

(Photo.

Mansell.)

231
.

Cardinal

of

Westminster

Langham,

(Photo.

Abbey.

235

Mansell.)
25.

Part

of

of

Chapel

the

Westminster

VII,

Heni-y

Abbey.

(Photo.
230

Mansell.O
Alabaster

26.

English

27.

Santiago

de

29.

Compostela
of

Tympanum

Maria

S.

from

Figui-es

239

the

Portal

North

de

Santiago

York

New

Museum,

Poital

South

Compostela,

destroyed
28.

Metropolitan

Relief.

242
243

Gloria

the

....

la

Real,

245

Sangiiesa
....

30.
31.

Cathedral

.32.

Cathedral

33.

of

Sarcophagus
of

Burgos

of

Alabaster

Four

246

Burgos
....

I^on

;
;

Retablo

Sannental

del

Puerta

.247
.

of

SUtues
in

the

of

Style

248

Portal

Western

Metropolitan

Vallfogona.

255
.

Panels

of

Earlier

Ghiberti^s

Door.

269

Florence
.

36.

The

del

Porta

Paradiso,

by

3(J.

"*I1

Zuccone,''

37.

Choir

Loft,

38.

Cupid

39.

Gattamelata,

40.

Panel

of

by

Donatello.

261

Donatello.

Trousers,
by
Choir

Donatello.

Loft,

by

263
2fl4

Florence

265

Padua
Luca

della

262

Florence
Florence

Donatello.

by

Florence

Ghiberti.

in

York

New

Museum,
34.

Berenguela.

Queen

266

Robbia
....

veni06
...^^v^uiu.
......
-

)f

Petronio,

San

Bologna,

by

mentation,

Jacopo

della

Palace,

Venice

by

Querela

Modena

Mazzoni.

....

Solomon.

of

Igment
Nicool6

Venice

Tron.

Michael

ly

Doge^a

Rome

Angelo.

by

Michael

Angelo.

Florence

by

Michael

Angelo.

Rome

Qiuliano

Medici,

dei

Michael

by

Florence

Angelo.

of

pe
lind

Daphne,
and

rge

Home

by

Dragon,

Florence

Bologna.

Bernini.

by

the

Giovanni

by

Sabinea,

the

'.

Colombe.

Michel

The

Louvre,

'

"is

"

Funeral

ind

of

Choir

Vii^n

the

Cathedral

Screen,

of

.8

urtrea

tombment,

Goujon.

Jean

by

3,

Richier.

Ligier

by

Saint-Mihiel

of

Fountain

Innocents,

the

Paris
.

if

St.

n,

and

II

Henry

Catherine

dee

M^dicia,

Germain

by

Denis
.

Bathing,

Versailles

Girardon.

by

3
...

eczinska,
b

of

Station

Dr.

"to.

Guillaume

by

Coustou.

Cross,

the

Adam

by

Stoedtner,

F.

The

Kraft.

Berlin,

Paris

Louvre,

Nuremberg.
3

NW.)
....

of

itatue

King

Dr.

F.

Peter

by

Berlin,

Stoedtner,

Innsbruck

Viacher.

Tilman

by

Aitarpiece,

i;lingen
to.

Arthur,

Riemenschneider.

NW.)

3
....

tan,

by

Syrlin

J5rg

the

Elder.

Munich

.3
.

Blutenburg

Bw.

Elector,

en

at

by
Tournai,

Berlin

Schltlter.

by

Cornells

de

Vrl"na*

ILLUSTRATIONS

OF

LIST

xvu

PAOB

NmBn

174.

Altarpiece

by

de

Felipe

342

Granada

Borgoiia.

....

175.

of

Head

St.

John

the

Baptist,

Alonso

by

Cano.

344

Granada
.

176.

and

Cupid

Psyche,

Canova.

by

The

347

Paris

Louvre,

177.

Venus,

by

Thorvaldsen.

178.

Jeanne

d'Arc,

851.

Copenhagen
The

Rude.

by

354

Paris

Louvre,

....

Florentine

179.

180.

The

181.

Monument

Dubois.

by

Singer,

The

357

Paris

Luxembourg,

Republic,

Dalou.

by

Dead,

the

to

Paris

359

Bartholom^.

by

Paris

361
.

182.

The

Thinker,

183.

The

Stevedore,

363

Rodin

by

Meunier.

by

The

366

Paris

Luxembourg,

184.

Von

Ziethen,

185.

Tlie

Rhine

186.

Mounted

by

and

Moselle.

the

Pandora,

188.

The

Germania-Denkmal,

the

371

Tuaillon.

by

Bates.

by

From

RUdesheim

Schilling.
Amazon,

187.

369

Berlin

Schadow.

by

Gallery,

Tate

374

Berlin

.382

London
.

Sluggard,

by

Gallery,

Tate

Leighton.

384

London
.

189.

Peter

Pan

bronze

Frampton.

by

Gardens,

Kensington

don
Lon385

190.

Abraham

Lincoln,

St.

by

Gaudens.

395

Chicago.
.

191.

The

Mourning

192.

The

End

Victory,
Mass.

(Photo.

Melvln

French.

by

W.

A.

Klson

"

cord,
Con-

Memorial,
Co.,

397

Boston.)
.

of

the

by

Trail,

Exhibited

Fraser.

at

the

Panama

Exposition
193.

Appeal

to

401

the

Great

Spirit,

by

Dallin.

403

Boston
...

194.

Kuan

Chinese

Yin.
Stone

above

Life

Sixth

Late

Size.

or

Early

Museum

of

Seventh

Fine

Century

Arte,

Boston

14

195.

Seishi

paying
Wooden

Arts,

Reverence

Statuette.

to

Soul

newly

Kamaktlra

Period.

Boston

arrived

in
Museum

Paradise.

of

Fine
417

which

culpture
Work
r

is

in

in

complete
The

Clay.

itself,

materials

most

"

"

xi

sculpture

in
been

are

used

wood,

clay,

ages,

though

all

in

diflFerent

at

have

mployed

moistened

his

is

led

with

be

of

wood.

to

dry

If

work

the

is

^ork

in

crack

is)

and

the

in

figures

mould

is

and

as

fired,

then
the

thus

figure

the

;s,

number

'he

of

details

of

thin

in

and

Rome

ce

1
_

the

as

the

after
111-

clay

have

the

of
the

fourth
1

the

whate
therefi

then

fired,

mould

finally
of

pieces

period

(or

is

put

which
in

carefully
varied

Renaissance,
century

m;

made

are

mould,

process

times,

large,

figures

terra-cotta

i
'

and

and

oven.

image

and

sur

leather,

Usually,

matrix

the

an

is

solid

modelled

into

clay

work
the

softr

i"ermanent,
in

hollow.

made

used

is

the

unless

firing,

not

are

figure

soft

If

been

fired

or

terra-cotta.

has

he

baked

is

of
be

to

ce

of

and

piece

mat

shap"e.

removed,

cloth,

damp

used

desired

the

may

with

progrea

degree

proi"er

into

then

fingers

"th,

hands

the

the

universally

to

places,

with

most

with

not

different

in

changed

the

Perhaps

le

and

times

and

stone,

at

ij

the

o^

joii
differ

and

B.C.

xxi

INTRODUCTION

metal,
is

or

transferred

then
which

by

wood

chisels
has

tools

of

the

the

not

of
the

fine

low

early
with

but

also

were

may

Kinds

what

except
deal
stone

and

of

care

avoided

not

well

be,

In
was

used,

deep

part

he

quality

tools

materials

because

of

the

finished

polished
cuttings.

or

grooves

stone.
lime-

have

is

highly

are

very

Egyptians

imi"erfect

deep

least,

at

the

the

must

surfaces
of

for

of

the

trying

by

which

these

of

of

liking

stones

in

ankles

work

works

the

which

of

weakness

Egyptian
the

strong,

block

his

ruin

to

not

clumsy

the

to

development

cuttings

deep

make.

Babylonia,

imported.

the

due

with

Babylonia

in

the

upon

is, however,

was

the

at

excellent

disposal

from

hard

smooth

effect

stone

too,

avoidance

to

"

the

part

work

in

Stone
"

in

little

early

ostentatious

the

evident

sculpture

was

sponding
corre-

need

available

the

The

sculpture

an

of
used.

such

stone

was

lest

basalt,

to

difficult

very

fear

due

and

The

periods.
exquisite

This

be

especially

is

wood,

the

and

which

be

may

of

their

free

cut

slender.

difficult

there

work

hard,

since

not

sculptor's

granite

very

in

as

too

Possibly,

ankles

For

not

but,

statues

may

employed

same

no

at

result

part.

the

relief

been

and

often

the

make

nings
begin-

when

model,

stone

had

had

The

were

and

stone

The

sculpture

the

kind

has

Egyptians

Egyptian

many

of

the

of

art.

clay

"

places

carving,

formed

they

to

and

strong.

statues

of

The

Egypt

"

fine-grained

really

work
the

the-execution

The

very

the

virtually

are

drills,

knives,

saws,

of

close-grained

described.

times

limestone,

(any

below.

development

progress

making

wood

Stone

sculpture.

The

transferring

into
in

separately

different

of
of

steps

of

shapes.
the

process

is used,

Kinds

with

processes

sketched

wood

in

model

clay

The

briefly

very

executed

various

method

model

be

is

accompanied

of
and

used)

be

be

The

wood.

material.

Sculpture

"

may

other

will

Wood.

in

in

thing,

the

to

is done

thia

Work

and

general

as

even,

there

If

Babylonian
and

basalt

there
or

sculptor
if the

stone

ments
Imple-

"

virtually

was

Nevertheless

stone.

cuttings,

Greece

Assyria,

was

other

some

polished
was

stone

no

his
less

good
hard
work

refrac-

The

cnisel.

una

1"*S1VI/

ith

the

Inds

of

stone

The

julptures
a

id
)ols

but

by

and

ex"

used

stone

soft

almost

was

not

foi
fine

very

the

apparently
from

greatly

that

method

in

carving
the

chisels,

saw,

These

(gouges)

curved

used

and

knives,

were

and

sit

In

"

differ

not

and

knife,

with

it

is

son:

times,

"poros"

Athens

at

have

early

marble

so-called

Hitl

sculpture.

in

B.C.

the

by

may

their

used

were

century

loyed.

fact

of

inferiority

sixth

le

this

and

)arse-grained,

used

stone

tools

lattei

were

somei

with

Lished

marble

Ihen

chisel,

irved
the

fifth
time

ir

and

)ls

the
is

^tone

freely

especially
The

drapery.
but

in

pie
ed

Methods,

Early

to

the

on

superfluous

the

the

and
did

If

stone.

imph
No^

The

earl

"

Egypt
and

methods

outlines

in

of

antiquity.

"

as

the

employed.

Sculj)ture

jreece,

f(

in

shapes

general

in

as

sand

introduce(

were

to-day

same

and

drills

changed,

mallet,

files

used,

wit

pointed

with

and

much
of

were

struck

were

been

chinery

be

B.C.

folds

struck

tools

chisel,

claw

centurv

the

much

the

to

they

have

sometimes

used,

was

instrument

pointed

at

hand,

the

mould

not

relief

material-

of

countriej
models

clay
be

to

was

front

Asiatic

slab

"*"-**
"^

made,
of

stone
^^

the

ar

xxiii

INTRODUCTION
.

on

flat

and
in

is less

likelihood

Stone
tor

statue

Taking

block

and

front,

of

he

cut

the

angular

stone

fifth

century

but

somewhat,
Middle

in

except

building

far

in

the

in

those

hands

of

the

In

from

which

in
of
*'

The

detail
them

modern

by
is

Albert

given

Metal-working.*'

methods,
Toft,
in

he

the

for

Modelling
Encyclopaedia

marble
and

the

local

work

large

are

and

Sculpture,
Britannica^

1911.

the

".v.

the

designer's
makes

The

cast.

work,

portant
im-

this

in

less

which

marked

bronze

the

of
methods

sculptor

plaster

depressions

both

times

those

by
of

the

usually,

correspondingly

copy

makes

In

such
of

method

mechanical

and

projections

the

Egypt

the

like

success

(and

modern

in

employed,

the

than

designer)

the

models.

model

for

the

general

was

Obviously

stone-cutter

makes

full-sized

Greeks.

early

to

until

Greece.

simple,

off

them

employed

was

ability.

become

sculpture

were

had

his

Greece

in

to

rounding
to

not

than

for

methods

responsibility

stone-cutter

clay

the

more

of

used

in

been

marble

The

and

have

front

then

by

the

these

in

from

He

the
of

transferring

did

earlier

where

stone.

and

probably

stone

Italy

Egyptians
leave

the

Ages

view

included

finish

introduced

may

side

according

models

much,

not

could

the

on

from

seen

side.

details

not

It

as

sculpn

methods.

drew

cutting

to

he

clay

and

later.

much

until

using

B.C.,

side

he

not

the

are,

The

simple

the

stone

until

out

apparently,

was,

in

which

working

of

practice

the

from

statue,

and

corners

The

that

desired,
of

the

reliefs

"

similar

outline

away

straight

intersected

rough,

the

of

relief.

section,

figure

sides

working

outlines,

the

will

tuating
accen-

shadows

Methods.

employed

of

Greek

low

Later

quadrangular

the

on

Then

figure.

back

of

outline

the

and

round

the

the

in

flat,

colored,

means

early

generally

Early

always

than

and

be

to

projections

were

more

model

day

tends

extreme

times

early

Assyrian,

"

in

the

suggesting

reason,

Sculpture
a

front

this

for

probably

of

and

outlines

his

therefore

little

often

was

Egyptian,

painting;

in

makes

sculptor

that

Reliefs

carving
the

the

background

his

plane.

one

the

and

times

slab;

there

be

modern

In

planes.

are

briefer

"Sculpture"

cast

treated
account

and

modern

ilptors

of

their

models

pointing

,te

the

to

The

copy.

who,

stone-cutter,
other

themselves,

but

with

contrivances,

careful

more

modell

merely

are

and

machine

touches
f

times

ma

sculptors
do

few

very

add

any

gn

chiselling.
in

*e

Bronze.

The

metal

composition

of

chiefly

employed

"

is bronze,

used

ot

apted

fine

to

aodel

of

K)l.

wood

Such

to

heets

are

crack
of'

and

suitable

and

too

beaten

over

early

ov

wii

statuar

moreov

statues

wooden

ti

finished
for

(sphyrelaton)

rivets

but

heavy

Some

tim

beaten

were

not

cooling.

bronze
with

)gether

costly

too

in

reliefs

are

weigl

made,

(reponssS)

stone

expc

early

very

were

the

methods

statues

kely

reliefs

and

or

in

too

their

to

Even

Otl:

tin.^

either

are

projwrtion

small
solid

cast

they

work.

and

atuettes

were

in

enough

strong

ze

but

occasionally,

and

copper

we

core

in

cast

or

ar

sep

and

welded

besides

es

of

astings
into

jasting

but

together,
being

bronze

was

Greece

is

these

disfigured
must

known
about

easily

be

by

in
the

made;

Egypt
middle

the

suture

numerous

and

hollow,

cast

at

molten

the

early

an

of

lack"

have

must

the

sixth

metal

makii
date
ar

centu;

is

INTRODUCTION

and

the

molten

methods

Both

made

of

Over

this

cire

perdii"
used

perdue

the

of

coating

work

the

material

is

in

the

be

to

is

carefully

applied

this

the

is

smaller.
the

coating
of

coating

over

now.

material

slightly

in

Then

executed.

are

but

and

process.

used

fireproof

cast,

applied,

sand

both

as

This

them.

the

or

of

core

object

are

between

antiquity,
a

wax

in

run

(lost wax)

process

of

shape

of

details

must

were

cire

the

In

be

metal

the

by

done

is

XXV

proof
fire-

and

made

This

outer

wax

thick

and

mould
of

and

the

air,

and

Then

bottom.

the

When

core.

the

far

so

core,

off, and

cut

"When
finished

sand

then

are

not

and

to

the

of

pieces
being

kept

pins.

TTie

after

with

sand

usually
process
years

mould

tubes,
is

process

made
seems

the

in
to

electrotype
employed.

pieces.
been

and
Of

dre

The

metal

is

bronze

When

castings
the

dre
In

method

is
the

is

core

process.

dissolved,

core,

harden,

the

preferred.

galvanoplastic

or

by
to

course

antiquity

generally

The

sand

allowed

is

equal

casting.

complicated
In

This

this

perdue

moved,
re-

are

positions

proper

employed,

several
have

the

together

thickness

upon

in

(which

mould

finished

removed.

in

as

the
These

remains.
to

the

poured
is

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are

formed.
per-

over

sticks

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fastened
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is then

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away

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is

sand

which

is removed

bronze

the

mould

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supplied
the

for

the

pins

pieces.

with

of

(and

surface

in

the
and

mould

is made

stuffed

pieces

of

cast

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desired

that

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Then

the

off

earth

loamy

sand

off, that

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filling

bronze

mould

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together

heat).

of

the

at

mould

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the

taken

then

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hardened,

outer

holes

in,

poured

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the

of

between

wax

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is

put

sand,

pure

endures

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and

is

for

vents

as

out

pins

position.

harden

to

treatment

process

serve

runs

has

necessary

model,

pieces

metal

ix)ssible)

as

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relative

to

core

metal

by

the

their

which

with

together

heated

is

wax,

occupied

the

in

molten

the

formerly

space

the

mould.

change

not

whole

melt

as

fastened

are

may

the

to

serve

arranged

are

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etc.

to

core

they

tubes

mould

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inner

that

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enough

strong

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perdue
recent
not

frequently
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prepared

Bronze

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exposed

3r

AesLT

has

to

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bluish

In

green.

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x)

that

[odern

by

composition
has

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modern

the

therefore

of

exposed.

use

tho

of

patina

to

the

darker

some

bronze

statues

the

times

bronzes

ancient

covers

discolored
;

antiquity
in

buried

becomes

changes

but

sculptors

3atina

bright,

centuries

for

elements
brown

yellowish

an

been

is

frequently

coating
much

often

produce

chemicals.

varies

with

the

conditions

to

HISTORY

SCULPTURE

OF

CHAPTER

EGYPTIAN

Early

CitHizatixm.

Egyptian
the

stone

or

implements,

clay

among

indicate

that,

early

as

sculpture
is

It
under

were

the

first

known

few

comparatively
dynasties,
sculptor
B

able

no

Delta

those

3400

B.C.,

when

of

the

his

thoughts

before

the

people

must

mathematics,

times

time

this

arch
mon-

one

but

uncultured,

to

At

until

duced,
intro-

has

of
and

us,

of

or

united

sculpture
there

the
the

time

peared.
disap-

was

works

down

come

express

of

Egypt

that

thing
any-

been

or

early

Menes,

artistic

had

of

rude

relics

Long

knowledge

means

ization,
civil-

appears

rule

calendar

little

B.C.

to

the

graves

Hardly

civilization.

the

in

in

peculiar

sculpture

us.

stone

earliest

kind.

any

the

monuments

3400-2980
is

no

have

these

under

in

king,

which

produced

of

to

primitive

any

called

B.C.,

found

their

of

wood

and

Egypt,

among

in

after

in

lost

are

objects
tell

united

was

existed

only

lived

possessed

be

by

beast,

valley
in

form

to

tian
Egyp-

the

in

Nile,

or

skill

possessed

probably

whatever

found

invented,

have

were

been

4241

as

rather

therefore

desert

advanced

far

was

or

and

Egypt

when

'and

the

properly

the

other

people

the

can

time

and

exceptional

any

that
the

has

that

or

sense

of

man

people

vessels,

little

but
to

period

sands

the

of

of

dwellers

the
of

Delta)

the

likeness

early

very

of

efforts

in

rude

From

or

first

probably,

more

beginnings

The
"

sculpture,
(or,

SCULPTURE

first

Egyptian
conceptions

are

two

nd

ridition.

The

of

owing

the

st

their

to

of

palette

understand

to

sculpti

remains

The

so-called

order

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though

unsatisfactory,

however,

"e,

practised.

also

was

reliefs,

part

most

uie

lui

iva,

fn

Narm

King

development

of

Egypt

"

"f

other

any

in

mind

outline
ends

age

whose

power

four

(0

B.C.

unsettled

condition,

government

^he

more

XI

m\

riod

of

prosperity

was

and

-pendent

ed

in

under

period

i,

1090-945

eally
2

of

B.C.

))egan

was

of

rol
i

l^efore

with
of

end

the

dynasty

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of

the

earlier
the

Saite

begii
throu;

include

period.

peri*

twentieth

dynast

(dynasties

twent

tweuty-fift
country

(670-G(}2

splendor.

Tanil

the

the

in

the

b.c.

the

(the

time

Sals,

at

cou

Empire

1090

though

B.C.,

capital

called

the
rulers

frc

whole

though

of

Libyan

("G3

for

is

to

Ethiopian

an

until

something

twenty-sixth,

the
to

then

continued

dynasty),

subject

the

untU

extended

is

Assyrians

dynasty,

ation
ie

the

and

lore

Hyksos,

the

dynasties,

(twenty-first

-lasted

dynasty

which

Thcl^es,

at

Empire

whom

after

four),

seat

twentieth

even

Eg"'pt

B.C.

the

its

with

b.c

feudal

the
and

Theb"

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called

conquered

were

and

at

or

another,

one

eleven

1700
was

chiefs,

invaders,

dynasty,

had
and

capital

local

with

war

by

They

Kmpire

nineteenth,
ie

at

the

the

perhaps

or

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powi

neith

control,

into

came

cou

had

With

2160-1788.

which

eighteenth

the
The

splendor.

often

Delta.

the

and

conquered

and

;rerrun

XII.

during

time

government

"

the

rulers

predecessors.

and

Kin^om,

central

the

but

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when

strong

Heracleopolis,

at

stable

(dynasties

of

Old
time

Memphis

at

the

came

lack

to

Memphite

their

of

and

nger

owing

was

wealth

there

this

Abyd

much

was

called

period,

After

wor

civilisation

was

capital

3400

later

and

rulers

Egyptian

few

the

near

art

whose

This

Cairo.
2475

the

of

This,

is

chroi

about

Menes,

period

(III-VI),

dynasties

to

of

splendor

and

modern

Thinite

the

King

at

was

in

given

be

of

capital

During

B.C.

accession

it
and

history

may

"

the

civilisation,

Egyptian

of

skeleton

with

iynasties,
iO

an

Egyptian

of

outline

bare

"

ic

element

single
least

at

b.c).
Delta,
The
It

broug
period
lasted

frc

EGYPTIAN

who

seems

serve

may

the

an

middle

called

of

of

this

of

for

the

this

and

is

of
of

the

1) the

bis

mace

in

Horus,

god

is

hawk,

crown

crush

to

who

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form

him

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of

other

by

cord.

palette

the

knees.

symbolized
by

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his

bringing

fallen

enemy

to

the

down

about

an

sunk

already

of

is

mies,
ene-

head

The

ing
hangchurdt,

is

king

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companied
ac-

carries

his

sandals

and

heads

two

enemies.

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of
relief

is

attitudes

of
the

the

artist's

Above

goddess

Hathor,

low,
in

Only

are

to

basin.

the

flat.

made

who

servant

the

the

desire

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to

was

the

be

fleeing

are

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bodies
is

king

resented
reptempt
at-

any

The

anatomy.

or

clearly

name

below
of

muscles

tween
be-

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of

zu

190

the

surfaces

of

enemies

fleeing

is

figure

details

reproduce

chief

and

PI.

.,

dem

ana

Muieum

Aegupliichen
"

by

necks

curving

long,

tom
botin

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wearing

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breaking

reverse

king,

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with

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the

sion
depres-

of

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{Fig.

two

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by

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at

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his

by

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decapitated

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objects

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framed

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shape

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sandal-bearcr

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in

similar

other

suggested.

purpose

palette

the

official,

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length.

m.

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is

may

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it

though

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four

This

depression,

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in

0.742

circular

the

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of

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the

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of

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to

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rather
In

to

SCULPTURE

dently
Evi-

impossible.

understood

and

in

this

he

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successful,
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remarkable

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hunting

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in

things

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coi

Statues

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and

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he

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of

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and

the

i"

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body

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from

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and

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gn

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their

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body

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the

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believed

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of

iused

;,

the

carefully

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tenets

Egyptians

terrestrial

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Ka

its

of

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of

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id

but

th"

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an

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ptian

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that

builders,

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ser

place
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develo

EGYPTIAN

oatuial

religion,

to

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lack

his

conventions
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of

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el

Beled.

Sheik

when

especially

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after

long

SCULPTURE

to

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to

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in

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the

el

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of

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This

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This

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it

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to

passed

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sculpture
In

painted.
finish

remarkable

its

the

'^'

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prime

of

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'^'^'

condition

present

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the

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has

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the

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engraved,

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portraiture.
of

and

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with

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form

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to

to

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arm,

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thin

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dition
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white

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figure

in

portraiture

2).

represents

restored,

the

by

dynasty

named

are

artist

found

fifth

It

official

high

of

the

Saqqarah.

at

(Fig.

figure,

of

the

chief)

Cairo

wooden

exemplified

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at

tomb

admirably

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museum

practised

skill.

is

Kingdom

hood,
priest-

and

upon

"

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by

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man,

full

face

HISTORY

and
and

that

body

alike

form

but

is

characteristic

scribe,

colored

parts

for

red,
male

of

in

now

least,

(Fig,

This

3).

used

is

the

his

and

body,

of

the

dwarf

inasmuch
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long,
rising

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almost

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body,
to

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royal

pity.

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point

broad
at

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ecution
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keen

vation
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in

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master

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clearly

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careful

most

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most

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of

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sales.
of

the

4),

who

Old

keeper

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head,
back,

the

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all

some

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some-

or

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are

of

person

But

palace.

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Kingdom

was

reproduced

sculptor

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he

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in

sort,
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(Fig.

Knemuhetep

importance,
of

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the

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Another

feet,

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The

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ing
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of

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Louvre

figures,

nourished.

well-fed,

of

man

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Equally
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himself

brownish

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can

Portraits.

SCULPTURE

not

of

sure

"

of

portrait

Other
of

say

person,

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are

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do,

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OF

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on

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his

and

top
us

in

HISTORY

are

of

One

numerous.

(Khafra),

Chephren
pyramids

best

known

builder

of

the

the

Ghizeh

at

SCULPTURE

OF

5).

(Fig.

is

the

This

seated

second

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found

was

far

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is

life

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times

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in

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it

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fect
imper-

In

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,

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of

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royalty.

spreads
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type

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The

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of

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EGYPTIAN

attributes

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throne

The
front

of

On

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less

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the

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is

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dom,
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history.

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the

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executed

The

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the

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queen

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with

SCULPTURE

as

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10

fflSTORY

details

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el

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is in

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tion.
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SCULPTURE

The

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EGYPTIAN

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11

SCULPTURE

In

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12

animab

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Below

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HISTORY

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SCULPTURE

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13

SCULPTURE

EGYPTIAN

the
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clear

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14

HISTORY

that

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SCULPTURE

OF

time
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was

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16

Middle

Egypt.

in

old

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less

OF

The

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HISTORY

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and

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development

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SCULPTURE

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the

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EGYPTIAN

Menthu-weser

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(Fig.
eleventh

of the

17

SCULPTURE

10)

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The

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11.

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Tonple

Abu

at

Simbel

"

hewn

II,

ses

de

of

the

65
are
,

out

great
feet

hieh.

of

the

rock-cut

Colossal

solid

which

rock,

temple
statues

decc

Abu

at

of

less

Sii

stu

J
EGYPTIAN

Reliefs

and

they

the

cover

fronts

of

true

of

virtue
been

entire

In
ber

such
of

there

vast

differences
Some

of

the

designed,

in

their

figures,
of

truly

are

of

the

but

seem

in

ments,
monu-

An

the

details

excellent

It
seen

of

in

colossal
heads

(and

because

of

now

size,
of

more

fragments

the

H.

Cairo,

lu

but

the

in
has

of

of

the

than

has

lifelike

sculpture

the

Mut

Muteum

executed

were

example

goddess
is of

iitehen

IS.}

now

unfinished,

and

workmanship
the

among

reliefs,

coarse

which

pire
Em-

the

extant

lai^r

the

admirable.

especially
the

fected
af-

slendemess

works

Some

some

apparently
great

best

seem

and

power,

sculptors

their

they

that

so

lack

in

statues

smooth

finish,
to

exquisitely

Some

too

are

works

carefully

and

wrought.

less

tion,
execu-

best

dignified,

are

dynasty.

tory
perfuncand

design

but

nineteenth

thb

or

-and

in

by
have

must

quality.

more

mechanical

the

astounding

artists

great

sculptures
are

under

the

is

same

size,

great

in

period

of

the

of

naturally

are

Empire

activity

the

(and
is

now

and

temples

immense

num-

many

of

are

The

but

used,

freely

sculpture
the

especially

works,

which

The
of

architecture)

unremitting,

of

walls

pylons.

quantity.

its

been

always

inner

gigantic
the

of

had

paintings

19

SCULPTURE

been

Empire
at

statue

intimate

fine

is

and

delicate

the

head

Cairo

(Fig.

which

The
the

of

12).

seldom

quality

dimensions.
to

stucco

destroyed.

portraiture

museum

human,
natural

the

the

of

coat

head

dress
headbe-

20

HISTORY

longed)

shows
is

queen,

the

slightly

face

of

in

model,

have

PiaORE

the

the

it

is

or

almost

smiling,

are

almond-shaped

the

almost

is

princess

look.

amorous

really

of

portrait

tempting

eyes,

recognize

to

the

some

time.

Reliefs

13.

lips

an

goddess

royal

some

and

retrousse,

whom

of

beauty

not

full

apparently,

the

Evidently

SCULPTURE

goddess,
The

is

nose

myopic,

reigning

the

represented.

coquettish,

artist's

that

OF

in

the

of

Temple

AbydoB

"

the

Among
none

excel

Abydos
purity

many

those

(Fig.

unsurpassed.
of

predecessors,

which

13).

line

of

his

beautiful

date

and

exquisite

The

artist

art,
and

the

the

u'as

the

from

refinement

of

reign
of

limited

no

time

walls

modelling
was

he

of

the

cover

They

but

reliefs

by

the

the
of

the

the

Empire

temple
Seti

surface

mechanical
of

of

1.

they

shows

In

are

accepted
imitator

work

at

ventions
con-

of

his
not

EGYPTIAN

manual

merely
artist
It

his

would

be

of

works
of

best

them

always

and

than

in

of

the

is

multitude
great,

that

be

to

in
vast,

of

the
claim

justly

considerwl

the
of

period

greatest

position
com-

so

scale

so

may

good

the

works

period

Empire

tradition,

be"t

high,

so

their

the

dignified

dom,
King-

instances

many

by

set

the

general

of
and

In

Empire.

workmanship,

careful

limits

admirable

is

the

the

average

the

life.

the

of

examples
during

in

the

nality
origi-

Old

but

interest

of

ent.
pres-

there

freshness

works

the

devotion

loving

great

one

of

qualities

Perhaps
less

the

produced

within

and,

the

multiply

to

easy

the

are

is

art

sculpture

attitudes,

but

training,

whom

to

21

SCULPTURE

tian
Egyp-

art.

the

after

Art

the

of

the

the

ness
productiveEgyptian

It

the

work

in

brought

even

The

the

it

was

execution.
with

was

of

various

this

period
but

of

loss

the

with
of

little

technical
processes,

country
The

are

Some

vigor.
good,

number

are

however,

the

and

variation,
and

decadence

greater

the

inspiration.

spontaneity
of

of

conquerors

artistic

new

followed

interesting,
knowledge

no

were

result
works

The

them

traditions

natural
of

ical,
mechan-

when

even

old

of

quality

more

fine

the

at

deteriorated.

became

still

ists
art-

and

time

their

clined,
de-

Empire

decreased

same

the

"

the
of

"^

As

Empire.

power

Time

some

are

mediocre.

was

pre-

22

HISTORY

and

served,

portraiture,

continued

art,
little

admirable

An
the

the

bronze
of

the

is
form

shoulders

Her

wig.

face

Under
native

the

brief

the

ancient

earlier

rulers.
Saite

period

were

evidently

York,

which

was

toward

this

period

times

by

fine

the

the

greater

Empire
in
old

the

until

were

is

and
details

ceremonial

her

attitude

ventional.
con-

the

queen

and

has

he

of

excessive
of

artists.

be

portraits
also

the

nine

Egyptian

repeated

Stone

models,

times

that

art

came

art

of

with

from
finish

of
the

of

the

end

an

early

varying

earlier
lack

of

lack

of

and

pressive.
ex-

time

and

later

form,

the

total

head.

the

from

no

wrought

this

of

sculpture

and

well

the

to

tendency

that

human

to

the

the

the

but

at

the

period

testify

general

New

in

Museum

is, however,

often

of

entire

care.

tendency

slenderness
often

sculptors

of

are

created,

were

The

works,

There

of

beauty.

distinguished

surface.

is

works

In

smoothness

revive

to

monuments

elsewhere,

ancient

usually

The

Metropolitan
and

during

made

was

new

and

Sais,

at

race.

governed

again

was

seat

great

Louvre

Graeco-Oriental

types

the

but

Egypt

many

the

incipient

may

Throughout

neck

her

and

attempt

with

imitation

being

through

represented,

their

and

in

the

in

There

height

has

figure

costume,

head

of

high,

slender

woman,

considerable

now

skill, and

toward

the

Egyptian

trained

modulation

manual

her

dignified,

serious

of

are

others
of

is the

feet

two

necklace,

or

in

dynasty)

About

On

had

the

of

are

which

schooling

done

was

The

fitting

dynasty

restored

were

of

of

was

decadence,

nearly

collar

artist

They

glories

days

of

appears.

merely

twenty-sixth

some

some

there

well.

the

by

which

gold.

gold.

the

is

It

closely

and

not

whom

work

his

in

work

time

with

is serious

priestess

done

but

Egyptian

(twenty-second

broad

is

all,

body

her

wrought

It
and

of

part

success,

fine

14).

in

wears

are

the

inlaid

clad
of

she

which

of

(Fig.
or

queen

which

with

Karomama

Louvre

encrusted

the

of

is, after

Queen

of

statuette

in

important

an

practised

example
which

period,

now

always

progress.

no

or

be

to

SCULPTURE

OF

of

overthrow
and

degrees

merged

was

Christian
of

the

centuries,
care

in

de-

CHAPTER

BABYLONIAN

AND

Babylonia.
of

part
a

the

ASSYRUN

also

Babylonia,

"

watered

region

called

the

by

SCULPTURE

is the

Chaldaea,
and

Euphrates

southern
rivers

Tigris

"

alluvial

flat,

have

rivers

land,

brought

been

has

formed

northern

the

have

influence

The

plain

but

distributed

Many

other

cities

her

organized
cuneiform

Stone
of

time

is

Age

knowledge

until

script,

the

chief

Of

the

when

the

preceded

civilization

chiefly

which

lated
regu-

and

Euphrates
their

far

tablets)

nearly

and

power

is

the

relative

until

not

made
tion
civiliza-

of

clear

there,

that
of
life

metal.

does

not

when

advanced,
and

enacted,

were

power

introduction

was

clay

on

canals

was

was

by

part

southward.

Babylonian

of

laws

north

it

we

Semitic

beginnings

though

known,

which

conveniently

and
It

southern

in

are

the

time.

conditions

existed,

states

to

vassals.

of

Babylonia,

gained

little

Babylonia

real

time

Babylon

elsewhere,

begin

from

in

period

the

of

times

early
the

of

the

Egypt

as

Akkad,

The

means

waters

existed

cities

that

B.C.

by

the

varied

importance

in

fertile

In

who

from

spread

north,

the

occupied

was

Semitic.

not

have

kept

earliest

which

deposits

Nile.

inhabitants,

were

seems

at

country

earlier

to

land

caUed

the

the

the

the

was

from

by

of

deposits

Babylonia

the

was

and

Our

the

Sumerians,

and

the

higher

the

Almost

folk,

2000

from

knowledge,

Semitic

Tigris.

formed

of

part

any

called

actually

by

Sumer.

part

as

II

wTiting

(in

practised.
,

Early
examples
sculpture
base

or

be

Sarzec,

Babylonian
(apart
is

pedestal
ascribed
DScouvertes

Reliefs.
from

rude

some

relief

fragmentary

to

en

time

PI.
24

47,

of

Babylonian

decorated

Tello).

slightly

Chaldie,

figurines)

which

(modern

Lagash

at

clay

ably
reason-

may

3000

1).

round

It

before
No.

known

earliest

the

Among

"

Here

B.C.

(De
ruler,

BABYLONIAN

AND

distinguished
holding

by

in
it

give
wears

to

beard.
and

the

reaching

work

is

some

All

The

wear

execution

of

the

and

care,

is

little
of

delicacy

other
An-

modelling.
small

lief,
re-

which

sents
repre-

Ur-

King
Nina

3000

(ca.
and

B.C.)

his

family,

shows

similar

qualities

(De

De-

Sarzec,

couvertes

en

PI.

Ckaldie,

""",

1).
The

"Vulture

Stele"

of

FioDHE

Eanna-

grandson

tum,
of

Ur-Nina

Sarzec,
finest

Dlcmivertes

Lagash.

great

In

the

net

net

is

Sarwc,

DtwuttrUi

lesser

of

away

victories

battle
the

"n

which

(Fig.

Eannatum

of

the

and

stood

of

the

On

15)
slain.

gained

is

the

the
and
The
with

back

(above)

the

fortunately
un-

stele

of
of

bodies

the

whole

the

eagle

nude

behind

is

this

lion-headed
of

mass

""),

48

front

the

chariot.

scenes

heiids

the

with

deity
a

*"", 48,

sculpture,

confused

3,

On

adorned

apparently,

rows

Pis.

Sumerian

early

was,

carrying

(E"e

"*.)

fragmentary.

enemies.

four

Chaldie,

en

of

holds

below

PI.

(De

example

slain

PariB.

Louvre,

ChaldU.

very

god

Pra8ineiitao(the"VultUTeStGle."

15.
"

The

the

no

both

but

vigor,

No.

but

have

beardless.

ankles.

king

hair

long

to

out
with-

not

there

the

and

if

as

The

him.

spearman

bald

to

use,

represented,

are

nearly

uncertain

Is

hand.

right

before

the

persons

others

beard,

skirt

lacks

other

of

stands

hair,

long

his

in

object

an

25

SCULPTURE

scimitar

who

and

Of

hair

hand

spearman

beard

curved

the

left

his

ASSYRIAN

and

god,
are

of

parts
vultures
celebrates

god's

help.

ascribed

to

Sargon

(Shamikin)

f"

of

dynasty

Semitic

the

period

the

about

2850

the

Amon

b.c.

of

statue

Banks

whic

Adab,

of

Esar)

found

espedally

(F
skirt

wears

layers,

o:

but

flounces,

or

ently

Biso

at

interesting

king

The

Dau

King

folds,

without

exac

the

skirts

the

is

he

w.

his

nude,
and

shaven,
The

the

From

Ur-Nina.

hair

is

wears

no

regul

are

is

for

unpleasing,
less

head

with

early

some

Ionian

tl

thai

retreating

case

th

and

prominent
less

si

he

features

not

pi

on

seen

heads.

The
eye

usual

in

made

of

statues

of

this

different

were

and

inserted

in

their
s

The

the

stiff,
folded

upright

attitu

hands
are

se

BABYLONIAN

AND

by

exemplified

as

ASSYRIAN

early

27

SCULPTURE

seal-cylinders,

superior

are

to

the

sculpture.
Stele
of

Naram^in.

of

left

sculpture

stele

of

Susa
carved

victories
tribe

Lulubu.

The

gigantic
homed
and

the

ascent

of

upon

foot

fallen

his

victory,

in

is
the

but

like

the

Stele."

the

works
reliefs

trees

represented,
is

spear

mere

soldiers

"Vulture

clearly

they

longer

no

Moreover

some

individuals,

as

are

truly

attitudes

followers,

appear

other

is

commanding

sameness

among

tion.
supplica-

There

figure.

the

other
an-

with

king

dignified,

the

and

in

The

are

fixed
trans-

advances

raised

masses,

fore
be-

further

spear

man

set

still

enemy
a

in

is

falls

by

at

foe;

symbolizing

hands

is

mountain

army

of

him,

on

which

short

his

His

and

Sargon),

the

wearing

sandals,

path.

his

of

son

is

the

king,

helmet,

head

of

the

Akkad

the
of

figure,

the

of

Sargon

to

over

mountain

an

of

dynasty

Naram-

Sin's

kilt,

monument

(Fig.

was

commemorate

remarkable

most

(apparently

at

It

17).

the

by

Naram-Sin

found

was

The
"

and

the
and

of

early

the

who
This

Babylonian

approximately

the

steep

sculpture
the

same

ascent

falls

pierced

is

unsurpassed

enemy

drawn.

admirably
of

of
unevenness

stele
in

period

relief.

exist,

Several
which

by

resemble

this

excellence

gonic

more

period

work

of
also

Semitic

bear
of

The
and

equalled,
and

time,

none

equals

it

seals

of

Sar-

certainly

the

the

to

excelled,

not

remains

scanty

high

the

of

state

in

of

metal

under

art

the

Akkad.
After

Lagash.

at

though

execution.

witness

rulers

Sculpture

and

other

any

closely,

less

or

hardly

are

SCULPTURE

OF

design

of

those

by

HISTORY

the

of

fall

the

Sargonid

"

of

dynasty
dynasties

became

again

in

several

South.

At

his

the

works

The

black,

had

in
be

to

turban.
the
In

right
these

generally,
artistic

The

statues,

cap

bare

life

are

postures

fall
and

introduced

are

statues

are

There

are

the
of

and

arranged
stiffly

to

the

Assyrian

leave

to

as

to

the

shaven,

resemblance

without

stiffly

All

Some
bare

some

so

to

eral
sev-

standing,

one

are

of

found.

the

seated.

cloak,
and

but

size.

types,

has

Babylonian

in
as

The

which

heavy

shoulder

inscriptions
effect.

isa

clothing
and

arm

tion
excep-

headless,

of

under

heads

statues

were

two

other

from

one

heads

it

as

the

18),

are

two

Babylonia,

With

Gudea

but

been

have

imported

(Fig.

with

durable

must

distance.

covered

diorite,

and

which

expensive

are

of

are

very

stone,

others

been

have

hard
a

and

statues

almost

dark,

In

statues

relief

in

of

B.C.

several

found.

title

2550

palace

out
with-

paiesi,

as

about

most

Gudea,

was

assuming

the

the

ruler

reigned

king,

erful
powof

cities

Lagash

important
who

Sumerian

Akkad,

ankles.

sculpture
regard

conventional,

to

the
the

BABYLONIAN

feet

exquisite

the

Sumerians

The

mouths

and

chins

especially
rank

end

to

which

is called
of

the

in

the

on

profile

is

but

aesthetic

value

Sculpture
into

came

excellent
of

metal

animals.

materials

and

work

done

was

works

of

that

large

works,

approaches
be

said

The

were

{ca.

2100

accuracy

the

earlier

of

and

forms
At

and

gives

real

this

of
art,

but
his

first
the

is, however,

ease,

and

in

little

good
few

centuries

it

that

it

lacks

the

hardly

can

the

dynasty

though

and

facility,

something

of

time
of

lon
Baby-

Hammurabi

which

to

other

are

the

after

on

rash

there

general

Semitic

figures

that

in

exhibit

stele

laws,

with

no

much

and

but

who

time

prove

and

advance

great
the

their

art,

possessed

than

more

in heads

time

dynasty

Ur-Engur,

which
of

but

any

It

heads

front,

terra-cotta

exist

elegance,

apparently,

works.

of

size,

was

of

of

B.C.

was

In

small

inscribed

B.C.)
and,

also

lesser

members

patrons

scientiously
con-

attitudes

the

soihewhat

especially

figures

sculptors

there

are

which

dynasty

done,

sculpture.

grace

that

Gudea.

the

chiefiy

qualities

eyes

2450

Dungi.

seals

the

seventeenth

the

from

About

the

small

in

said

following

Details

nature

lasted

son,

was

many

followed,

some

his

Some

is

art.

the

"

which
of

work

It

been

is incorrect,

seen

to

Babylon.

founder

by

truth

the

expect.

if

Gudea

compositions.

Ur,

at

power

succeeded

was

of

arvi

Ur

at

in

conventional,
as

of

the

exhibits

to

us

made

these

to

The

century.

be

to

and

developed

Gudea

realism,

has

period

perspective

and

degree

of

cheeks

sculpture.

Akkad,

of

the

statues

conquest

lead

stiff

likely

are

there

yet

whole,

of

period

would

statues

archaic

Kassite

time

wrought,
are,

the

the

the

with

impressive.

soUtid

Babylonian

dynasty

the

to

makes
of

that

Sargonid

work
the

which

and

natural,
is

even

Yet

race.

and

sively
exces-

short,

too

are

There

works

reason

the

B.C.,

Relief

modelled.

best

extending

century

excellent

with

shaped,

diguified

are

with

wrought

short-necked

are

heads,

though

necks

statues

eyes

the

this

with

period,

these

the

with

for

were

well

in

hands,

the

29

SCULPTURE

imperfectly

are

fingers,

and
are

ASSYRIAN

clasped

detail,

curved

defects,

partly

the

long,

their

take

in

care

though
all

formed,

iU

are

AND

is

carved

with

spontaneity

judge

of

the

art

of
of

exist

re

record

to

serve

of

aftei
progress

as-

first

dynas'

Babylon,
general,

it
s

the

that

traditions
c

prese:

were

the

and

dency

to

mechanical

imaginal
incre

work

table

The

Ni

King

id

pi

u-

NsbO-aplu-iddin.

of

Tablet

British

(ninth

cer

B.C.),
)rded

his

is

perhaps

the

of

restoration

earlier

of
copy

Shamas

of

temple
work,

in

yet

an

on

gei

.,

it

is
a

er

(Fig,

)eriod

B.C.)

4-561

at

their
y

Babylon
to

brick
r

of

walls

Nebuchat

and
powi

fo

influence,

Assyrian

owe

may

had

been

ruling

the

ns

teenth

scul]

enamelled

spirited

are

merits

Babylonian

the

adorned

which

animals)

illy

the

of

Some

19).

the

of

example

gocxl

century

until

the

in
power

rise

of

the

Mesopotamia
so-called

Neoh

32

HISTORY

approaching
the

which

but

bronze,

are

Asshur

known

in

and

basalt,

standing

be

to

Assyrian

string

of

whole,

this

decidedly

dated
but

which

style.

the

exist

Perhaps

well

not

the

the

On

the

The

female
is

fully
care-

few

later

the

by

them

among

is

B.C.,

B.C.,

affected

much

and

nude

century

interesting

most

muscular

2000

long,

disks.

proportioned.

apparently

are

has

The

Gudea.

eleventh

the

and

not,

he

about

28).

costume.

exaggerated,

dated
of

statues

in

did

circular

be

may

(page

Gudea

greatly

almost

as

to

London,

finished,
statues

is

costume

in

breast.

bling
resem-

in

and

differences

his

over

arms

which

figure,
inferior

in

torso

falls

and

stone,

moreover,

at

head

Gudea

belt, which
neck

found

was

dark

attitude

slight

his

appear

in

ture,
minia-

Probably

the

hard,

cast

in

few.

are

Babylonian

thick

the

shoulder-blades

the
some

sure,

which

development

recalls

of

encircles

beard

is

and

excellent.

life size,^ which

material

statue

wears

beads

of

waving

the

statues

are,

This

The

missing.

rock.

Ass^Tian

Unfortunately

1905.

living

sculpture

are

statues

of

figure

September,

are

There

is

called

the

of

them

Assyrian

"

stelae,

unknown.

works
of

many

Statues.

eiarliest

the

and

upon

(repousse)

are

as

added

monuments

upon

beaten

works

regarded

numerous,

Assyrian

in

bronze

be

may

occasionally

and

have

carved

slightly tapering

done

was

must

also

were

colored,

were

disappeared,

and

large

seals, which

hands

the

on

work

sculptures

Records

obelisks,"

Excellent

SCULPTURE

these

now

effect.

slabs,

"Assyrian

the

have

their

to

separate

or

All

enemy.

colors,

greatly

OF

is

relief
stone
lime-

of

figure
In

general,

III

Asshurnazirpal
sculpture,

Assyrian

origin, developed

as

relief

the

in

evidently

sculpture,

Museum.

British

in

Babylonian

not

sculpture

as

in

its
the

round.

Assyrian
of

One

the

is carved
bekr.
1

earliest

in
It

the

figs.

round,
p.

22

closely
40,

rock

der

and

and

at

the

pp.

and

of

about

Korkhar,

Asshurnazirpal.
Assyrian

fifty

king, Tiglathpileser

still
the

12

and

Orient^eaeUsehaft

Some

resembling
54,

examples

deutschen

23.

TiglathpUeser

"

known

represents

MitieUungen

1905,

49,

Reliefs

earlier

early
18.

examples

Sumerian

miles
I

(ca.

Berlin^

xu

of

sculptures,

relief

work

from

Diar-

1100

29,

Assjrrian
are

"

B.C.),

December,
work

figured

in

the
ibid.

J
.
.

BABYLONIAN

with

his

Part

was

of

but

relief,

hand

right

hand.

century

extended,

works

{886-850

Assyrian
the

indicate

the

there

eleventh

Asshurnazirpal

conqueror
Nimrud

at

left
small

that

between

art

his

bears

king
to

great

palace

in

sceptre

same

serve

of

whose

B.C.)

the

in

time

the

33

SCULPTURE

holding
of

merely

change

and

ASSYRIAN

obelisk

an

these

great

no

III

AND

contained

(Kalah)

numbers

great

They
in

of

consist

single

figures
friezes

two

rather

is

postures,

faces,

though

seven

high)

their

and

large
in

ures
figtheir

and

the

less,
expressionin

impressive

are

immobility

20).

Details

with

elaborate

(Fig.
treated

are

hair

and

and

feathers,

bracelets

beards,

borders

fringes
wrought

with

nicety

as

admits.

soft

the

tional,
conven-

beards

it

or

eyes

as

shoulders

have

alternating

intended)

may

in

are

an

be

is

front

which

error

early

to

as

the

less

strength

time

incorrect

to

view,

had

was

real

attempt

an

full

the

been
of

of

rows

hair.

straight

and

corresponds

arrangement

profile,

stone

treatment

is

undoubtedly

court,

are

much

as

the

hair
and

and

robes

The

the

the

care;

of

Muscular

feet

by

clear

dignified

are

The

(about

figures

Museum.

British

throughout

The

cut.

are

the

forming

but

low,

quiet

of

large

in

now

inscriptions.

relief

well

are

much

separated

cuneiform
The

which

of

of

or

row,

smaller

reliefs

either

fashion

partially
but

Gudea,
than

evidently

in

the

early
much

the

curls

(for

this

Possibly
of

the

heads

overcome

perspective
Babylonian
admired

royal
locks.

natural

represent

though

curis

in

are

in

lonia
Babyof

the

work.

by

the

34

for

Assyrians,
and

care

flat,

the

Assyrian

and

gain
The

various

of

the

same

of

variety

of

the

art

of

attacking
hunts

are

nature

of
muscles
of

the

round,

the

by

Bri

in

treated

are

and

Hunting.

and

the

the

interest

Museum.

tub

the

instance,

Figure

the

truth

actions

and

of

representing

conventional

of

forelegs

lion

roj'al

wonderful

method

as

the

half

guarded

the

in

Assyrians

The

with

the

tudes
atti-

system

the

horses

and

21.

creatures,

which

and

almost
in

the

ram.

peculiar

of

development

represents

especially

sometimes
for

that

variety

great

but

lions,

The

battering

details,

many

or

followers

series,

larger

Greek

form.

his

movement,

relief

with

in

impressive
buU

and

for

easy

the

or

Details

the

greater.

in

colossal

immensely
of

much

appears

The

less

human

chase.

of

it

the

king

in

Asshunrntirpa-l

in

in

the

vigor

depicted

the

lions

of

rendered,

"

fortress

decoration,

the

and

shown

of

rather
muscles.

carefully
made

great

are

the

Egyptian

the

observed

are

is

the

represent

the

^1.

war

skirt

for

of

knowledge

war

posture,

action

elbows

with

reliefs

divisions

Assyrian
than

care

FiuuBE

the

and

heavy

reliefs

scenes

with

knees

sculptor

smaller

The

exaggeration.

comprehensive

muscles

represent

mark

of

long

SCULPTURE

sculptors

grooves

articulation
the

OF

greater

deep

but

to

their

even

and

The

to

HISTORY

lion

is

the
their

relief

and

portals

of

impassive

combined

with

half

in

sculpture

Asshumazirpal,

power.

the

The
swiftness

are

strength
of

the

AND

BABYLONIAN

the

eagle

and

these

figures

order

that

appear

to

the

be

of

works
The

from

of

Asshumazirpal's

only

are

the

march,

of

Lake

well

these

Assyrian

the

from

IV

our

from
differ
scenery

human

gates

the

of

in

paid

details
in

the

and

side

and

the

whole,

the

On

are

the

make

interesting

most

very

figures

to

serves

of

the

real,

clear.

on

victorious

from

but

performance

the

to

front,

the

among

the

seen

perfectly

and

troops

are

is rendered

perfect,

means

circular

of

lifelike

are

designed

country,

king,

of

repouss6,

includes

persons

the

from

(860-

strips

admirably

water

time

III
with

scenes

is

the

to

surroundings

like,

story,

two

the

the

from

the

and

form;

stele

British

of

works

of
of

Herodotus

god

Nabu.

Assyrian

art.

the

of

but

there

giving
is

no

slighter
essential

and

works
are

in

the

only
Adad-

has

Semiramis,

(745-727

A^hiu'nazirpal
in

sometimes

calls

There

(823-

Sammuramat,

was

These

IV

VII

reigns,

wife

obelisk

almost

are

their

of

Tiglathpileser

reliefs

Shamshi-Adad

whose

whom
of

of

black

the

Balawat,

Museum,

B.C.),

statues

palace

the

of

sculpture

same

knowledge
the

reliefs

and

(810-782
the

probably

to

no

bronze

in

of

monuments

us

the

belong

are

other

eyes

seen

are

III

B.C.), both

left

similar

from

mountainous

before

the

the

reliefs

they

these

attitudes

by

Shalmaneser

Nirari

in

art.

Apart

811

but

attention

if

rather

small

reliefs

represented

the

the

though
or

not

seen

other

figures, wrought

and

and

as

designed,

action"

in

and

adorned

In

manner,

scenery,

is

peculiarity

wood,

bridge,

much

represented

are

should

side,

of

brought

horses

conventional

in

Shalmaneser

scenery

Van.

Too
of

leg, evidently

successor

high,

ceremonies,

campaign.

the

Museum,

The

wide.

captives

trappings

were

arched

an

religious

and

inches

perhaps

from

bronze

British

gates

The

fortification,
lake,

the

inches
to

fifth

palace

The

son

The

executed.

and

of

in

now

2J

same

same

in

"

Balawat,

nine

the

Bataivai.

of

Gates

bronze

The

detail

interesting

sculpture.

Assyrian

B.C.).

seen

three-legged.

of

825

of

when

figure,

lion

An

man.

introduction

the

is

the

superb

of

intelligence

35

SCULPTURE

ASSYRIAN

more

remains
These

B.C.).

representing
proportions
difference

little

add

more

to

in

the

style.

Palace

of

HISTORY

Sargon

OF

SCULPTURE

Kkoreabad.

at

Reliefs

the

from

palace

"

of

reliefs

or

the

representing
is

and

simple

there

is

of

them.

(Dur-Shamildn)

style

(Fig.

22).

king

with

his

in

as

band

Khorsabad

at

severe,

longer

no

part

any

b.c.)

different

persons

but

(722-705

somewhat

show
in

II

Sargon

of

The

The
courtiers

reliefsof

the

arrangement
and

Asshumazirpal,

inscription

the

across

themselves

figures

earlier
less

those

and

there
of

ex^geration
relief

and

is

little

muscles
surfaces
another

hair

profile

unnatural

are

heads

They

are

there

has

been

all

are

but

introduced

is

their
and

the

all

lack

of

in

figures
not

is

visible

and

heavy,
in

the

earlier

the

there
work.

the

higher
is

differences

Asshumazirpal

of

figures

in

expression

impression

time

the

an

In

The

was

more

effect
of

want

apparent

clumsy,
agreeable
dis-

makes

relief.

of

spite

rather

are

faces

There

tinguished
disare

These

improvements.

are

slendemess,

greater
the

changes

more

before,

represented

men

the

now

than

features.

since

improvements

not

of

racial

their

by

faces

the

cases

some

ticeable
no-

Seener"-

characteristic
in

even

rendered,

correctly

not

from

seen

advance.

and

longer

no

as

front.

when

the

if

represented

but

ventional,
con-

verj'

whose

persons

yet

beard,

Moreover,

of

the

and

less

before.

in

from

one

The

still

is

are

flat

grooves.

of

eyes

the

like

off

though

than

and

less

by

treatment

too,

figures

rounder,

marked

is

higher,

the

look

of

muscles.

trifle

consequently

are

little

than

times,

The

figures

are

slender

more

other

real

of

these

freshness
advance

in

BABYWNIAN

the

time

AND

between
which

in

impressive

long

of

(Fig.

detracts

The

its
The

of

weight

the

suggestion

due

in

which

lion

from

the

work,

excelled

in

defects
the

to

part

the

of

reliefs

softness

from

of

ITnder

scenery

was

nmnber

of

the

alabaster

Sennacherib

In

introduced

beyond

it

tended.
in-

was

is

simplicity

by
those

Sennacherib

employed

by

his

not

makes
technical

In
do

of

rows

appear

father.

the

that

there
The

small

the
skill

to

have

figures.
the

however,

which

impressive.

result

more

and

composition.

ceremonies,
adopted

before

the

the

several

be

may

B.C.)

ever

with

in

palace
employed.

than

in

arranged
religious

so

reliefs

confusion

generally

Asshumazirpal
employed

doubt

representation

(705-680

multiplied,

some

representing

dignified

in

was

persons

occasionally
are

the

back

no

which

Sargon's

"

reliefs

lion's

but

the

inches

16

the

for

purpose

of

one

to

Sennacherib.

is

palace,

about

rises
of

the

always

Sargon's
Heally

bronze

effect

weight,

appreciable

no

and

gives

the

the

Assyrians

animals,

that

as

from

progress.
a

ring

it

vance
ad-

an

sculpture.

is

time

from

use

the

little

large

somewhat

facilitated

with

bulls

show

are,

Saigon's

23).

of

beauty

but

Ssrgon,

brought

man-headed

they

as

works

finest

the

winged,

great

and

have

to

seems

37

SCULPTURE

Asshumazirpal

improvement
The

ASSYRIAN

same

reliefs
the

artists

pri^ressed

of

38

HISTORY

The

Asshurbanipal.
the

of

ambitious,

most

and

Assyrian

Asshurbanipal
of

the

swift

and

the

various

Few

artists

in

sculpture

Sennacherib.

In

powerful

hunting

attitudes
of

these

of

any

been

hind

in

along

Assyrian
of

of

so

human

and

an

and

most

(Fig.

beings
their

relief,

they

also

thereby

reproduced

and
is

our

her

drags
the

most

of

example
reliefs

the

though
In

who

their

the

for

more

greater

not

may

representation

worked

figures
with

they

worked

They

predecessors.

attitudes

who

back

among

praise,

artists

giving

whose

others

sympathies.

the

who

motions

probably

many

equal

death.

those

admired

generally

in

Museum.

spear

24)

ass,

lion

characteristic

lioness,
a

of

wild

and

than

British

but

merit
to

better

all

Greeks,

mighty

conflict,

the

or

of

palace

fleet

the

pursuit,

wounded

arrow

ground

directly

excelled

higher

the

the

see

and

lioness.

the

Asshurbanipal

we

succeeded

animal-sculpture,

appeal

from

best

the

dog,

The

by

known

widely

the

reliefs

these

reproducing

animals.
broken

legs

the

flight,

have

age

reliefs

different

has

various,

most

respects

many

are

Wounded

of

the

(668-626B.c.)|theSardanapalusof

grandson

carved

SCULPTURE

"

naturalistic,

most

works

OF

pal
Asshurbaniin

somewhat

natural
truth

forms,
to

nature

40

HISTORY

influence

the

peoples,
extended

in

of

even

Sea.

fall

present

of

the

Its

direct

empire,
day,

especially

but

influence

indirect

its

and

Babylonian

directions,

all

SCULPTURE

OF

to

the

Assyrian
of

shores

art

the

ranean
Mediter-

virtually

ceased

influence

is

with

felt
even

in

decorative

art.

was

the

to

the

III

CHAPTER

HITTITE,

AND

PHOENICIAN,

PERSIAN,

CYPRIOTE

SCULPTURE

The

The

Hittites.

Hittites

have

somewhat

mention

casual

other

made

it

clear

Hittite
from

Ephesus
in

direct

the

in

century
the

In

Syria.

(the

the

Pteria
of

period
of

movement

in

they

ruled

were

then,

long

time
the

Assyrians

the

apparently,
the

Hittites

Vannic
in

Monuments

sculpture

in

in

the

for

eighth

but

they

in

northern
at

against
finally

was

Hittites
the

lost
attacks

eighth

the

its

tury
cen-

Hittite

But
chief

Syria.

the

Boghaz

far-reaching

Minor.

northern

and

the

seats

For
and

Assyrians

succumbed

to

the

century.

Hittite
the

Cilicia

capture

This

of

though

century,

struggled

kings,

of
are

tenth

Asia

of

ful
power-

In

was

the

account

the

settlements

the

until

grew

part

so

Cappadocia.

on

power

miles

in

capital

century

measure

large

revived

power

great

fifty

and

them

In

twelfth

miles

frontier.

pK)wer.

the

whose

Phrygians,

the

of

in

peoples

fifty

are

had

find

in

highest

their

probably

ground,

Herodotus)

of

and

of

they

have

their

century

places

appearance

dynasty

Egyptians

fourteenth

some

Egyptian

the

the

B.C.

Homs,

to

turies.
cen-

Smyrna

to

about

Babylonian

on

various

at

when

time

years

for

people

Eyuk,

first

B.C.,

that

at

and

Syria

fifteenth

first

seem

to

The

2000

recent

found

from

and

inscriptions

Euphrates

Sea,

Syria.

the

They

southern

Black

is about

overthrow

to

Keui

in

history

Babylon.
in

the

Aleppo,

Hittites

as

from

and

Sea

and

powerful

been

the

on

Aegean

line

of

Malatia

and

on

south

also

monuments

Gerger

were

have

through

known

comparatively

in

they

that

Bible,

the

discovered

monuments

have

in

been

long

"

Sculpture.
most

part
41

Monuments

of

Hittite

the

native

"

reliefs

carved

in

42

rock

waits,
of

in

or

blocks

human
and
of

remains
the

the

in

other

of

time

the

fourteenth
of

period
Keui,

the

great

the

Yasili

Hittite

remarkable

of

This

those

is

the

at

in

boring
neigh-

Cilicia

northern

and

the

period

second

of

in
power

the

tenth,

and

ninth,

eighth

turies.
cen-

the

Even

earliest

known

Hittite

sculpture

shows

influence

of

Ionian

probably

art,

at

even

time

those

in

that

appear

noticeable
shoes

with

in

this

and

costume

type

the

and
in

worn

The

East.

realism,

sincere

most

hats

are

of

regions

of
from

The

still
as

mountainous

tumes,
cos-

differ

shoes

such

exhibits

the

pointed

"

period

the

art.

high,

syria
As-

but

represented
Assyrian

are

toes

several

first

rites

religious

Babylonian

tumed-up

and
of

the

of

features

Greece
art

and

that

through
;

deities,

the

Baby-

exerted

the

long
be-

Syria
to

face,

the

Boghaz

at

figures
found

sculptures

earlier

federation,

or

of

No

be

to

b.c.

most

series

The

Kaya.

Hittite.

kingdom

and

small

seem

centuries

Eyuk

at

fragments

moreover,

Hittite

of

part

and

probably

certainly

thirteenth

lower

26)
are,

are

first

reliefs

including

There

which
is

the

(Fig.

lions

round.

that

and
the

few

formed

objects

sculpture

SCULPTURE

which

stone

are

figures

bronzes

OF

of

there

though

than

HISTORY

honest

an

to

attempt
as

they

and

great

of
Some

men

artistic
reliefs
of

appear.

from
excellence

and

time

was

exposure,
never

be,

to

little

series

and

men

believed

are

technique
the

represent

very

beasts
but

feeling
at

these

Yasili

there

great.

is

little

love

Kaya,
have

apparently

are,

and

gods

refinement

of

beauty,

in

which

or

sculptures
but

they

as

suffered
their

of
in

even

gods

and

greatly
technicEtl

the

In

marked.

hair,
of

symbol

the

but

the

the

figures

attitudes

and

of

little

sculptors
work

imitate

the

usually

carved
The

they

East

of

one

Greece

but

West

Lydians,

of

entered

show

that

influence

empire
on

was

Assyrian

and

The

Persians.
of
of

B.C.

and

Astyages
Darius
Persian

the

friendly

and
"

by

little
the

cities

centuries
Persian

Cyrus

Codomannus

sculpture

with

the

remains
and

They
the

under

were

between

undertaken,
whose

Lydians,
Asia

so

and

Minor

continental

Greece

B.C.

558

by
existed,

with

began

empire

in

and

numerous

the
of

"

century

extent,

them

later

chiefly by
Greek

with

importance.

was

the

Minor,

intermediaries

as

r61e

Asia

some

Hittites,

to

Phrygians,

twelfth

most

real

intercourse

sixth
The

the

the

peoples.

of

to

Among

served

This

of

some

of

seventh

like

is concerned,

included
terms

of

are

West.

Minor

the

defeat

the

sculpture

of

East

"

the

were

great

The

about

perhaps

are

other

peoples

exist.

art

art

other

of

art

the

Minor,

but

spread

connecting
of

any

and

influence
how

Asia

but

culture

determine

that

country

Phrygians,

the

Asia

as

the

these

even

of

East

the

the

sculpture

but

of
and

of their

Phrygian

striking,

Peoples

practised

all

affected

art

fore
there-

sculpture;

the

its

in

line.
out-

made

rudely,
which

to

was

Carians,

monuments

some

330

their

Other

of

whom

"

Hittites

have

of

art

whence

it is difficult

in

sculpture;

to

somewhat

Minor,

incised

are

reliefs.

the

through

channels

to

inscriptions

of

appear

to

dently
Evi-

pictographic,

or

works

not

and

attempting

merely

larger

albeit

art,

the

Lycians,

of

B.C.,

value

Asia

how

or

Sculpture

most

of

yet

as

of

importance
the

do

here

Hittite

way

the

to

Hittites

the

into

passed

employed;

are

ineffective.

are

sometimes

in

are

the

ability

appears

proportions

composition

hieroglyphic

are

contribution

doubtless

in

the

the

clumsy,

no

disk

winged

the

in

instance,

mjotifs

Assyrians.

inferior

practised

they

or

relief, but

are

general,

original

far

in

and
the

the

inscriptions

such
In

of

characters

the
as

lifeless

unnatural,

for

Assyrian

and

influence

Assyrian

the

adopted,

deity,

are

the

conventions,

were

43

SCULPTURE

period

later

Assyrian

of

treatment

CYPRIOTE

the

of

sculpture

is very

as

AND

PERSIAN,

HITTITE,

B.C.

ended

and

Alexander
so

far

the
as

can

the

throw
over-

with

the

Great
be

deter-

in

44

mined
it

at

far

so

India
elements

had

and

and

a.d.

ruled

for
and

Elamite

kingdom,

ruled

the

in

the

seventh

century

banipal.

That

but

art

their

the
is

reliefs, which

bear

enables
time.

Of
be

may

the

Median

that

of

Persian

and

inherited,

the

of

important

doors

and

certain
is

example
the
stiff

founder

of

and

anything

near

very

like

the

little

or

no

work.

fantastic

god

Thoth),

is
Greek

and

the

garments

have

work

doubt

influence,
effect

upon

of

this

the

however,
the

known

Cyrus,

represents

Assyrian

costume,
head-dress

four
with

of

of

is due

is confined

style.

to

tures
sculp-

to

the
to

tombs

the

be

sure,

sixth

but
tury.
cen-

ence.
influ-

Greek

details

of

trace

no

rock-cut

stiff,

part

wings.

great

reliefs

the

are

beside

earliest

the

an

there

man-bulls

and

latter

general

part

Sculpture

The

folds,

innovation

most

though

In
in

Assyrians

Egyptian

influence.

to

Persian

the

the

strictly Assyrian,

Behistiin

Greek

of

an

It
due

The

"

the

wears

the

is doubtful.

which

at

Without
Such

the

of

Darius

relief

He

empire.

of

or

from

of

are

architecture.

apart

Pasargadae

treatment

Persepolis

to

folds,

that

new

of

from

the

in

tion
condi-

known.

art

that

art,

especially

rock-cut

their

as

Persian

is for

art

know,

we

sculpture

civilization

Persian

capitals,

without

technical

the

confined,

relief

(originally
The

been

have

far

even

Asshur-

few

Work.

Assyro-Babylonian

differences,

to

seems

and

under

are

but

Relief

adopted,

or

of

and

overthrown

was

monuments

qualities

chiefly

it

Babylonian

no

the

it had

B.C.,

so

Iranian

powerful

through

traditions,

Babylonians,

adaptation

the

Elamite

Sculpture

empire

the

to

the

sculpture

resemblance,

Medes

centuries

Assyrians

only

us

close

of

the

of

was

2000

practised

sculpture

some

survival

by

to

judge,

to

us

Susa,

third

the
the

for

but

western
northRoman

in

Persians

and

from

power,

with

peoples

at

kings;

of

art

Persia

the

Babylonia

Elamites

of

the

far

B.C.

known

combined

capital
not

of

large part

and

regions,

its

time,

one

Buddhistic

over

the

of

Achaemenid

the

Before

period

with

the

kings

neighboring

At

over

in

on

Sassanide

brief

plateau

glorification

with

thereafter.

flourishing.

the

revived

was

the

SCULPTURE

ends

it lived

as

under

century

for

and

begins

in

OF

solely

present,

therefore

except

HISTORY

and

has

HITTITE,

Monuments

chief

of

decorate

to

the

similar

the

Great

Xerxes

and

than

intention

to

Darius,
to

attempt
is

the

the

and

give

coarse

but

distinguish

represented

features

general
even

accompanied

The

to

types

by

rather

that

attendants

the

obvious

an

their

of

of

In

rel)el

makes

art

different

the

about

rope

Persian

is

is

style

limited.
there

of

palaces

than

more

Behistfln

by

Darius

magnificence,

mean

together
in

are

at

the

rounder

motives

of

Susa.

of

somewhat

is

inscription

fastened

stand,

before

king

and

style

the

Persepolis,

near

froih

and

in

cut

inscription

reliefs

Persepolis
"

reliefs

kings
the

the

same,

relief

The

of

The

Qwditiea.

are

the

illustrates

at

sculpture,

illustration

of

and

the

reality.

sculpture

tombs

which

much

Assyrian

Persian

Artaxerxes

throughout

its

"

BehistQn,

at

45

SCULPTURE

SctdptuTe;

the

relief

CYPRIOTE

Persian
of

monuments

rock

who

AND

PERSIAN,

leaders

necks,

hardly
men.

an

The

holding

46

HISTORY

and

parasol
floats

fan

above

servants

the

Assyrian
when

the

is

with

merely

kings

while

sealed

on

typical,
for

king

himself

god

his

tiirone

which

real

of

decoration
does

not

there

and

in

in

the

sides

after

.of

have

of

effect.

lion

and
a

decorative

are

of

point

employed

by

Persian

adjunct

is

view
not

with

but

both

the

living

Persian

the

or

and
combat

from

bull

Persians

and

in

their

employed

was

(for
it
was

the

employed

animals

of
both

reliefs
almost
rock-cut
with

of

liancy
bril-

between

success

and

griffins,

liefs
re-

colored,

probably

great

Hon

reliefs

sometimes

All

the

tiles

such

gorgeousness
was

used

unicorns

as

architecture

forms)

motive

it

are

sculpture
to

at

liefs
re-

many

are

artificial

as

favorite
and

bull,

They
but

aimed

stairways.

served

friezes.

of

art,

which

are

tiles.

exclusively
tombs

as

affect
'not

tionalized.
conven-

Assyrian

glazed

skill,

at

rated
deco-

or

colored

and

27),

in

walls

were

glazed,

were

throughout

the

of

there

syrian
As-

were

doors,

sides

Susa

the

but

of

of

part

of

the

ion,
fash-

lower

manner,

thickness

entire

cover

walls,

the

Persian

Egyptian

the

entire

art

manner

the

not

the

or

Persian

the

in

did

walls,

may

are

ization
character-

reliefs

palaces

as

also

clothing.

The

(Fig.

of

bringing

definite

their

cessions
proor

these

except

At

are

guards
peoples

without

walls.

palace

appear,

tribute,

the

as

their

conquered

of

conflict,

such

adventure,

his

Everywhere

of

for

in

is

monsters.

not

the

Ahuramazda

he

or

up,

fabulous

used

the

hold

nations

tributary

is

SCULPTURE

head,

he

or

victorious,

scene

And

his

over

him,
or

always

OF

an

tectural
archi-

merely

to

OOO

900

or

became

Tyre

the

after

B.C.,

the

Sidon

of

capture
Phoenician

chief

by
Al

city.

!arthage
:he

which

West,

1, when

and

Sea

with

compete
and

Art

tan

in

the

though

the

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powerful,
of

the

and
It

Du

B.C.

coasts

in

Qualities,

its

overthfi

was

were

all

to

Phoenix

146

Carthage

trade

the

it

destroyed

beyond,

far

it

until

then

their

extended

IS

endured

and

Tyre

with

and

finally

and

)mans

to

founded,

was

the

later

centu

Greeks.

the

chiefly

is

the

changed

of

wares

Greeks

and

in

important

are

for

each

history

the

Egyptians,
the

tra"

as

"

Phoenicians

of

Babyloni
and

other,

carried

tl

of

peoples

but

export,

"

is

the

statues

studied

best

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and

ophagi

of

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tations

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and

types,

abylpnian
influence

zy

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'

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J.1

them

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siz

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:-j.

tdh

ex

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ant

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others

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the

ci

their

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The

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mixture

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ware

of

whatever

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motives.

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ivo

glazed

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many

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number

interest.

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of

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bronzes,

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made

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few

great

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Few

St.

small

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They
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in

(amulets,

?s

West.

Egyptia
rel

the
all
a:

the

HITTITE,

The

tive.
of

the

in

technique
and

Egyptian

misunderstood

The

Phoenician,

under

the
of

that
in

Greece.

with

parts

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were

Cyprus
quite
of

have

much

as

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round

upon

of

of

in

the

Ptolemaic

and

Assyrian

in

the

to

art,
art,

In

other
and

them.

but

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earliest
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it

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be

called,
or

in

and

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terra-

especially

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of

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times

mainland

may

in

in

other

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beasts,

parts

But

on

sculpture

native

because

the

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appear,

conveniently

original

modelled

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in

the

which

terra-cottas

are

established.

eighth

fuller
had

than
is

begins

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influence

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figures, drapery

hardly

stone

conquests

poses

armor

if

be

Phoenicia,

by

and

strictly

gradually

the

oxen.

rudiments
visible

are

until

even

the

period.

Sculpture

Under

style

chiefly

was

Phoenician

may

and

its

and

as

region.

Phoenicians.

by

women,

rude

characteristic
inferior

of

ornaments

men,

are

Cyprus

that

tripods,

of

these

of

sculpture,

vases,

object

an

(or Graeco-Roman)

influenced

to

times
some-

inscription

Carthage

Phoenicians.

was

limited

figures
Most

it

and

an

yielded

in

characteristics.

influenced

as

or

conquest

Greeks,
nor

from

confusion

by

distant

which

inhabited

by

of

and

consistent

motives,

some

Roman

art

were

Greeks

may

or

accuracy

is

identify

in

art

with

settled

were

dently
evi-

were

precision,

it

crescent,
to

Phoenician

"

island

the

and

Roman

was

connection

in

some

distinguished

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serves

the

The

Art,

Cypriote
discussed

and

Egypt,

Africa,

distinctive

no

of

of
After

in

as

for

it is characterized

Punic,

or

be
when

it is found

influence

Syria

others

vigor,

even

disk

of

when

even

lacks

work,

characters,

Phoenician,

greatly,

care

no

therefore

can

Egyptian

Phoenician

in

it

however,

combination

the

with

general

often,

Very

varies

while

wrought,

trade,

Assyrian

'

of

the

work

of

also

work.

Phoenician

style.

for

out

of

refinement

finely

49

SCULPTURE

workmanship

being

turned

delicacy

of

quality

pcUerae

CYPRIOTE

AND

PERSIAN,

been

elaborated,
The

forms,

and

long,

narrow

in
and

seventh

attained

types

the

centuries.

definite

more

the

before

Cyprus

in

and
the

of

proportions

cible
for-

earlier

Cypriote
and

the

rian

and

Egyptian

The

Influence.

influei

"

art

tn

it

lot

tnrty,

have

doubt

of
ig

Cypriote

upon

Egj-pt
brought
(-lov

sculpture

been

to

in

under

ficriires

Dressed
are

the

and

persister

more

trade

Cyprus

great,

and

greater

Greek

was

twenty-sixth

the

influence

in

"

of

moulds,
no

HITTITE,

shows

itself

before

became

from

and

Greek

art;

the

At

East

Phoenician

of
of

ideals

Cypriote

vigorous
reliefs,

of

and

and

of

In

best
truth

beauty

sculpture.

under

Decadence

the
the

love
Greek

by

without

Assyrian

work,

nature

without

the

finish

exquisite

is

century

almost

of

Egj'ptian

and

not

lacking

exhibited

expected

fifth

but

ness
heavi-

Assyrian

the

earnestness

to

be

hybrid,

charm,

the

the

works.

Egyptian

interest,

seen,

whose

by

peculiar

the

the

or

artists

formed

sculpture
a

these

clearly

to

of

the

overcome

pose

by

were

late

from

is

feature

works

ture
sculp-

In

not

stiffness

known

Cypriote

influence
does

with

the

sites.

Greek

with

than

chiefly

come

by

rather

of

Greek

the

fluence.
In-

fourth

tury
cen-

"

Cyprus
into

more

of

Hellenic

general

culture,

Alexander's

and

more

came

the

tury,
cen-

natural

present

monuments

sixth

of

parts

were

Greece.

the

of

occupied

the

in

Empire

ever,
how-

Cyprus,

in-

whose

and

closes.

off

cut

centres

were

affiliations

Persian

51

SCULPTURE

century

the

the

Phoenicians,

but

of

moreover,

i^and

SjTia

sixth

continuous

with

tereourse

CYPRIOTE

therefore

was

close

the

part

and

in

AND

PERSIAN,

which,

stream

Cypriotcions

after

about

B.C.

New

Museum,

spread

conquests,

"Me",,

600

York.^"'
mterest

all

over

in

the

the
native

known

style

world

as

deteriorated,

far

east

and

as

its

India.

Sq

debasemt,,
e;

monu-

of

CHAPTER

GREEK

IV

PERIODS

ARCHAIC

Hellenes

The

of

history
if

all,

at

the

and

Greek

well-ordered

social
and

to

Greece

enter

but

for

rich,

flourished,

and

found

the

conquered

historical
inherited

of

metal,
still

were

in

cultivate

to

earlier
The
the

sculptured
existence,

had

arts,

imitate.
time
art

historian
and

of

before

them

have

even

Prehellenic
Greek

beautiful

the
been
Greece

art,
in

and

many

themselves.
53

the

The

objects
folk

they

began
which
of

traditions
in

therefore
its

habitants
in-

earlier

objects

preserved

of

race

earlier

when

technical

the

of

walls,

various

is

serfs,

mixed

the

by

Greeks,

the

Possibly

may

of

that

so

less

was

driven

or

Greeks

stone

wrought

stones

it

slaves,

from

Moreover,

of

process

when

the

or

qualities

country.

the

could

they

to

and

more

fore
be-

conquered

The

conquerors.

up,

Greece,

killed

as

grown

and
all

been

races.

The

remained

their

of

be

to

not

had

entered

one,

were

century,

had

own.

long

began

race

other

Hellenes

their

munities
com-

country

or

palaces

therefore

were

the

the

the

the

race

have

some

of

time

people

of

period

that

country

must

many

fellow-citizens

and

the

less

or

eleventh

civilization

undoubtedly

was

but

or

the

call

This

the

as

and

towns

more

arts.

early

When

decayed.

Hellenes,

independent

the

luxurious

hardly,

the

established

another

of

and

could

conquest

as

begins

when

numerous

before

fortified

they

away,

least

people

powerful,

their

develop

to

at

by

ended

in

centuries

many

occupied

they

life

began

had

"

called

B.C.,

The

Greece.

of

so

century

Greek,

call

we

Inhabitants

properly

seventh

the

which

race

Earlier

the

sculpture

before

AND

PREHELLENIC

THE

SCULPTURE.

some

of

products
existing

ure.
meas-

interest

are

monu-

teresting
in-

54

HISTORY

of

ments

Prehellenic
with

metal

OF

sculpture

those

of

and

work,

Prehellenic

SCULPTURE

are,

architecture,

however,

few

in

painting,

gem-cutting,

parison
com-

pottery.
The

Sculpture.

earliest

and

important

most

"

of

seat

of

civilization

began

peace

primitive

Greek

before

apparently,

in

after

this

3000

the

later

time

arts

Some

than

very

in

and
3000

definite

no

the

B.C.

Cyclades

much

not

where

Crete,

was

even

found

centuries

many

lands

develop

to

statuettes

made,

were

for

in

Crete

in

progress

the

sculpture

of

art

but

B.C.,

ably
Prob-

is traced.

ture
sculp-

such

existed
as

for

the

most

was

part

either

carved

in

wood

modelled

or

in

and

stucco

has

disappeared.
Even

the

when

Cretan

(or

Minoan,

it

as

often

called)

civilization
FiorRE

31.

of

Fragment

Stucco

is

was

Relief.

"

Muaeum
at

at

Athene,

reliefs

show

and
of

long

period,
rather

of

liveliness

though

after

the

of

in

the

fragmentary

at

rude

of

the

height,
in

carved

ability

to

the

In

general,

the

art

shows

of

keen

there

of

men

Cretan

is

past,

are

instance,

representation
example

and

of

and

works

small

partake

beginnings

for

fragmentary

least

externals;

anatomy,

but

remarkable

and

lacking.

conventional,

only

study

its

at

statuettes

skill

which
not

but

nature,

careful

technical

were

than

and

terra-cotta

as

works

sculpture

Sc/iool

practised,

duro)

(gesso

that

execute

little

was

well

as

Briluh

sculpture

stucco

metal,

of

the

17.)

p.

bronze

of

vases,

(AnnuoJ

VII.

and

stone

of

CaDdia.

is
but
and

stone

conceive
nature
of

this

istic,
natural-

observation
of

evidence

no

great

and
ease

beasts.

sculpture

in

fine

stucco

56

period

quite

are

The

of

parts

of

of

part

number

Dr.

by
works

and

be

and

Mycenae,

in

such

excellence

in

the

to

fact

that

art

the

of

coating

in

stueco

lions

great

excellent

Metal

the

and

Work,

Mycenaean

and

Ivories,

Seals.

in

The

executed.

in

part

with

Mycenae

(Fig,

33)

able

were

to

stone.

skill

The

to

Athens.

sculptors
works

impressive

in

Crete,

and

Museum,

at

gate

due

covered

were

date

attained

not

National

the

in

in

was

once

details

over

that

prove

produce

the

than

be

Phaestus,

were

Vaphio.

which

lionesses)

(or

certainly

From

Cups

"

ruder

may

had

and

reliefs

stone

covered
dis-

earlier

culture

Greece,
Cnossus

as

in

ing
astonish-

far

not

are

of

upper

shaft

rudeness

centre

continental

Gold

34.

the

that

fact

with

are

they

Their

the

graves

Mycenae

later.

the

apparently,

the

over

VBse,

Only

this

On

represented

though

mentioned,

32).

engaged,

found

at

somewhat

the

to

reliefs

harvest

(Fig.

are

reliefs.

stueco

so-called

men

festival

Schliemann

just

may

part

of

Stone

the

preserved.

liveliness.

the

is

harvest

celebrating

is
Phaestus

vase

large

the

as

these

near

the

SCULPTURE

remarkable

Triada,

Hagia

upper

OF

as

famous

most

from

HISTORY

of

the

Prehel-

"

lenic

metal-workers
and

Mycenae

exported
and

though

their

the
of

capture

and

of

on

the

reliefs

the

other
in

is

of

one

of
cattle

tame

repoussfe,

in

are

really

the

undoubtedly

miniature

the

Vaphio
lively

most

animals

appear.

and

ornaments

were

(Fig.

Crete

cups

represented

postures

in

from

the

from

Sparta

numerous

Mycenae,

at

On

cattle
of

some

but

head

near

made

actually

found

spot.

wild

Vaphio,

Greece,

gold,

bull's

splendid

from

were

continental

masks

on

cups

these

to

made

seen

gold

two

Probably

34).

in

is

are

These

manner,

not

correct,

cups,

works

of

with

sculp-

THE

PREHELLENIC

They

ture.
art

such

value.

only
they

The

small

Greece.

reliefs

of

that

is
the

in

The

35).
Real

gold.

and

large

size

in

been

little

technical

stone,

ability

Prehellenic

of
deteriorated

end,

if

or,

rather

as

for

it

as

lacking.

art

to

an

it

exist,

to

tacks
at-

its

came

influence

Survivals

art.

the

to

obscure

duction
pro-

decayed

finally

continued

an

living

its

Hellenes,

and

carving

the

not

invading

ivory

have

though

gradually

the

of

highly

of

to

civilization

succumbed

and

and

round,

seems

necessary

show

of

sculpture

apparently

was

the

the

practised,

seals
or

example

are

relief

even

and

figures

Boston

accessories
in

small

in

in

Arts

sculpture

however,

As

Fine

sculpture

appreciated

fine

but

discovered,

gems

much

snake-goddess

of

was

of

engraved

remarkable

of

statuette

Museum

of

are

Prehellenic

number

of

mentioned

been

the

sculptor's
treasures

been

have
of

hundreds

household

to

quality

miniature

art.

(Fig.

the

and

carving

which

considerable

ivory

developed

those

the

of

have

that

show

to

applied

was

57

PERIODS

appre"ation

objects
of

part

serve

of

it

since

ARCHAIC

the

that

prove

keen,

was

AND

was

than

of

lenic
PrehelFiocRE

35.

ette
Statu"

decorative

motives

of

and

lenic
Prehelof

have

taste

been

observed

Museum

works

in

Gold

and
d[

Ivory.

Fine

Arts,

"""""""

of

Greek

ration

of

and

the

around

or

Tiryns,

the

those

If

it

the

instance,
visible

to

it

lions

later

at

ages

cities

fortresses

exerted

Mycenae)
and

continental

isolated
remained

as

might

dwelt

Cnossus

at

and

Greece,
with

upon

as

such

who

influence

such

the

never

races

disappeared

any

but

Minor,

seen,

Crete,
of

elsewhere,

Asia

the

of

in

palaces

of
have

we

as

art

through

only

was

Greek

was,

great

and

races.

the

deco-

developed

mighty

Mycenae,

the

which

fully

most

or

Phaestus,

of

in

sculpture,

favorite
in

made

vases

Prehellenic

in

especially

art-,

the

at

power

ture,
sculp-

Greek

(for

monuments

above

come

ground
to

light

and

by

58

chance.
with

These
to

down

through

nii^

of

Greek

the

The

be

might

that

the

have

centuries
know

that

and

unhewn
It

in

dictated.

patrons
then

very

Periods

(l) The
to

(3)

the
the

be

the

of

Greek

be
archaic
great
fourth

conquests

of

style
influenced

but

of

the

by

by

symbols

were

when

such

desire

wood,

for
stone,

and

sculptor

of

art

real

usual

more

the

the

in

that

suppose

earliest
the

We

clothed

materials,

taste

many

his

statues

might

foreign

natitms,

Egyptians.

of

may

various

especially

represented

were

deity
'

or

The

probably

especially

of

the

statues,

convenience

the

as

that

made

were

arose,

metal,

or

presence

and

to

of

of

peoples

civilization.

beams

reasonable

with

sculpture

gods

or

They

trade

peoples,

statues,

pillars

perhaps

bodily
times,

primitive

them

is

the

of

by

or

the

by

not

in

of

selves
them-

kinds.

various

these

Greek

times

Greece,

stones

garments.

symbols

later

in

all

the

century

upon

engaged

of

seems

seventh

of

art

these

assumption
the

the

beginnings

in

shrines

seen

that

entirely

and

efforts

assumed

and

an

of

that

than

first

been

wood

time,

developed

the

even

certain

at

have

of

progress

some

the

therefore

depending

and

Greek

primitive

like

Such

Phoenicians,

we

before

look

Greeks

folk,

had

Egyptians,

their

to

earliest

less

all

the

for

the
and

Minor,

the

that

been

Egyptians,

earliest

nothing

The

has

were

isolated

had

begin-

the

"

not

It

enlightenment

and

Asia

do

statues

fact

an

for

owed

disappeared.

the

not

were,

are

They

completely

were

have

known

this

somewhat

people.

earliest

ignore

beyond

Sculpture.

expected.

uncultured

an

the

Greek

existing

now

the

precede

but

handed

land.

Earliest

statues

to

the

possible

been

have

may

"

to

appear

Greeks

it is

"

stone-carving

sculpture,

in

indeed

stone,

that

the

inspire

to

serve

of

centuries

sculptors

predecessors

of

of

Greek

SCULPTXJRE

might
figures

carve

tradition

some

OF

works

wish

the

that

the

HISTORY

divided

period,
Persian

"

from

the

invasion,

Alexander

(4)

the
had

(2)

four

the

Hellenistic

spread

Greek

about

beginning,
480;

of

into

chronologically

century;
of

history

The

Sculpture.

fifth

ture
sculpperiods:
600

period,
Greek

b.c.,

century;
after

civilization

THE

PREHELLENIC

known

the

over

statues

of

marble

second
was

world.

the

casting

period

the

stiffness

further

admirable

perfection

of

the

of

anatomy,

of

Rome

ideal

detail

of

and

and

the

contorted

in

art

the

by
a

the

of

always

el

Beled

(page

is

borne

equally

for

than

had

tried

to

tation
osten-

istic
Hellen-

and

tine
Byzan-

figures

in

is natural,
the

the

in

it

others
as

of

the

earlier

as

the

the

later

hands.
the

to

remained

the

as

Sheik

weight

type

skill

surfaces

seems

flat

is

the

belong

type

little

the

in

of

may

of

the

some

surfaces

but

though

the

no

in

figures

or

if the

in
of

are

and

even

more

are

sculptor

possible.

all

head

male

hands

examples

In

left.

position

but

draped,

noticed

kings

existing

now

The

nor

sides,

figure

we

is advanced,

exhibit
In

execution.

which

the

male

female.

or

standing

the

at

Some

others

Egyptian

century,

years.

make

The

"

exhibited

and

observed.

feet, and

down

sixth

workmanship,

rounding

to

are

standing

right

to

variety

these

many

in

muscular

end,

West

male

is

foot

left

both

some

the

10),

standing

The

by

is
of

delicacy

study

influence

of

types

frontality,"

Type,

straight

there

vogue

rude

6).

hang

of

the

the

female

either

neither

the

posture

nude,

usually

(page

Nude

in

beginning

the

in

main

of

turns

Standing

earliest

the

instances,
In

or

Period

be

may

"law

and

resemble

The

statues

sculpture

statues

the

typical

period
and

others.

Three

figure,

the

types

examples

fourth

some

art

and

abandonment

partial

"

which

erect,

The

in

art

pathos

exaggeration

to

in

Statues.

standing

Egyptian

led

early

and

period

emotion,

express

Archaic

Greek

figure,

these

beauty

the

East.

earliest

seated

to

in

gained,

third

the

in

Roman

into

of Early

draped,

the

postures

The

Types

in

carving
;

of

was

physical

realism

developed

awkwardness

led

East

excessive

to

art

to

the

in

of

types

acquired

was

of

and

certain

ability

skill

emotion

desire

of

to

or

and

59

PERIODS

period

bronze

technical

perfection

the

and

of

achieved;

feeling

first

technical

expression

was

individual

the

and

and

overcome,

most

In

developed

were

ARCHAIC

AND

Such

HISTORY

OF

SCULPTURE

differences

of

difference

been

affected

cleavage

the

statue

was

and

skill
the

during

earlier

of

among

Tenea,
the

of

the

long

the

hack

hair

in

of

in

sculptor

called

but

of

the

mouth.

archaic
it

shows

or

the

The

artist's

the

is

merely
but

dering
ren-

of

fine.

the

evidence
of

part
work

by

the

There

the

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pearance
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the

century'

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the

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be

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primitive,

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may

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nical
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Figures

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PREHELLENIC

THE

formerly,

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called

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victors.
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the

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61

PERIODS

Apollo,

statues

and

the
but

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Egypt,

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distressing
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64

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SCULPTURE

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Archermus

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Figure

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THE

PBEHELLENIC

adorned

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erected

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PiavRi!39.

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65

PERIODS

of

temple

rounding

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with

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ARCHAIC

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and

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Heracles

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39)

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action

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end
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of

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pediment

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of

ascribed

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presence

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rich

SCULPTURE

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and

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in

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its

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409

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produce

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ural
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sculp-

long

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OF

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HISTORY

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trained

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Doric

and

sculptures
colony

ities
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of

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from

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PREHELLENIC

THE

(Fig.

40).
the

battle
of

influence
is

relief

the

time

the

sixth

of

was

Ionic

in

predominant

PeUyponnesian
the

At
in

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whose
or

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was

said

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of

Magnesia,

Argive

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of

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belongs

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the

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B.C.,

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Apollo,

in

or

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been

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to

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of

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earlier.

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at

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by

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The

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Delphi.

at

without

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and

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work.

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Minor.

sixth

Elis

throne

probably

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of

native

the

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Phidias,

the

Callon

Canachus,

of

Myron,

of

found

though

gilded

was

who

Cretan

mythical

middle

teacher

end

very

bronze.

temple

nude

bronze

artist,

Asia

the

whose

and

made

about

century,

excellence
the

of

inlaid

ivory

Angelion,

bronze,

from

among

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or

the

was

in

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have

to

of

sculptors

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Argos,

reason,

called

Polymedes,

is known

of

Laconia,

artist

sculptor

century,

in

worked

Chirisophus.

worker

Amyclae,
an

named

Cretan

Crete.

had

and

there

Tegea

cording
Ac-

from

famous
of

tised
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who

bronze,

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At

was

Crete,

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of

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Daedalus.

statue

Aegean,

period.

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Aegina,

been

have

to

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496

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it

much

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Smilis,

of

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gold,

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Callon,

of

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Sparta

with

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the

communities;

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pupil

art

Theocles,

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represented.

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toward

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Minor,

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Sculpture.

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parallel

Boeotia.

and

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Asia

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were

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the

same

reliefs

century,

in

the

the

sented
repre-

Here

giants.

though

of

Selinus

from

the

seen,

67

PERIODS

metopes

and

pediment

these

when

Northern

is

which

in

of

gods

art

the

from

influence
was

the

Ionic

Olympia,

at

series

third

The

ARCHAIC

AND

to
was

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represented

about
famous
statue

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He
than
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for
of

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the

in

late

small

41),

in

of

his

statue

An

of

of

sculpture

Sicyonian

treasury

nians

the

eapwcially

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most

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of

of

This

of
1811

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seemB

and

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ascribed

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to

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sculp-

bronze.

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No

invasion.

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ascribed

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the

sicyon,

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can

called

formerly
now

These

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in

by

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certain

pretty

found
restored

of

be

to

the

with

statues

allow

to

us

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cer-

from
form

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art.

goddess
Iraitments

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obscure

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time

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workers

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bronze

of

pediments

"

to

the

to

of

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belong

works

noted

(Fig.

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Argos

at

the

which

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Aeqinetan
as

of

qualities
Ionic

the

with

later,

and

Doric

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treasury

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than

Delphi.

at

somewhat

sure,

sixth

earlier

adornment

159),

(Fig.

in

front.

the

compared
the

so

fell

relief

of

this

be

may

sculptureof

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from

42)

it
in

therefore
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metope

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the

and

century,

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of

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the

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In

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execution.

bronze

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way

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fine

balanced

so

appearance

and

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reliefs

its

probably

deer

such

feet.

its

reproduce

was

The

rock

to

from

however,

work

hand.

under

known

not,

his

it

drawn

is

statue

do

caused

SCULPTURE

OF

in

deer

push

HISTOEY

1901,

Tborvaldsen,

statues
in

of

temple
that

Munich.

it

Zeus

are

now,

They

then

Panbelleniua,

dedicated

was

with
were

to

the

the

what
some-

exception

discovered

in

THE

The
and

PREHELLENIC

Those

and

in

figures
the

the

less

better

the

but

archaic,

The

much

the
helmet.

To

kneeling

archer

lion's
is

and
from

head
a

was

famous

leader.
later

of

scene

In

left

of

the

eastern

is

helmet,

doubt
no

the

Trojan

the

her

were

evidently
first

Trojan
pediment

western

War

long

is

without

the

the

in

of

her

each

and

doubt

battle

her
A

warriors.
who

in

and

aegis,

pediment,

War,

stood

Delphi.

fighting

Heracles,

are

pediment

two

SicyonisoB.

robe,

style

pediment

middle

of

artist.

same

western

the

Treasury

wearing

right

as

the

size

same

advanced

of

In

same.

from

Athena,

goddess

the

the
the

by

more

arrangement

the

Relief

from

of

not

are

those

was

PERIODS

are

evidently

are

pediment

eastern

preserved.

groups

ARCHAIC

pediments

two

but

date,

same

of

AND

wears

conflict

the

which

Heracles

of

the

represented,

more

and

70

here

archer

an

the

In

wearing

each

the

pediment
and

group

had
half.

The

has

no

supposed
The

to

skill
the

are

All
the

invisible

other

are

an

the

movements

stiff
these
eastern

of

part

rather

than

defects

are

pediment.

tion
composi-

the

the

of

They
the

spite

marked
faces

in

in

anatomy

their
the

the

quite
too

the

on

short,
whole,
and

knowledge
not

are

forms,
of

but
of

degree

and

tudes,
atti-

anatomically

are

sculptors.

The

was

their

of

study

breast-bones

astonishing

more

place,

goddess

boldness

they

in

cal.
identi-

almost

the

supple,

spondence
corre-

prominent

inaccuracies

angular,

are

other

the

are

the

pediment
the

entire

were

most

and

The

not.

slight

show

statues

on

modelling,

are

in

the

small

combatants.
for

that

the

but

probably

the

to

Not

they

the

action

remarkable

show.

for
there

the

careful

they

correct,

the

be

are

their

and

in

of

they

occupies

part

statues

which

symmetrical,

of

utilized,

sides

two

In

every

figure

or

fully

Athena

Although

half

eastern,

goddess.

that

one

Paris.

the

the

of

group

the

exact

merely

not

in

was

in

arranged

so

figure

space

too

also

side

were

corresponding

was

she

figures

triangular

were

each

called

be

may

cap

probably

at

individual

every

exactly

an

and

warriors

six

were

SCULPTURE

Phrygian

pediment

western

there

OF

HISTORY

thou^
vigorous
western

western

graceful

muscular,
action.

than

pediment

in

72

HISTORY

The

horses

are

of

the

of

Heracles

before

see

coloring,
the

which

chief
to

from

being

of

h^h

relief,

pediment

in

reliefs,

and
this

these

and

blue,

which

them

we

The

unnatural,
last
be

show

has
far

not

Other

reliefs

better

and
in

wrought

Several
the

that

art.

must

are

round.

among

crude

quality

of

the

feel

earlier.

finer

and

fragmentary

living

work

parity
dis-

excessive,

we

and

was

somewhat

Some

almost

of

somewhat

and

real

red

date

work.

advanced

more

of

perhaps

stone

poros

is
the

vigor,

bright

The

b.c.,

lolaus

preserved,

part

green.

600

in

in

colors

changed

without

not

the

ridiculous,

Nevertheless,

beginnings

is

almost
and

flat.

b
the

us

be

Heracles
too

are

SCULPTURE

to

as

between

surfaces

figure

small

so

size

OF

very

evidently

were

three-bodied

remarkable

rfl"i^i^*?':

(Fig.

creature

the

Here

forms

heads

decorative,

toward

of

be
for

The

fill

the

decoration.
is

well

high
animals

reliefs
and

with

to

also

of

human

the

place
first

beings

in

half

or

by

the

deities.

sbcth

were

and

which
this

ments
fraglonged
be-

once

learned

time

three-bodied

triangular
of

taper

waves,

sjTnmetrical

the

Certainly

adapted

had

serpent

which

or

found,

artists

pediments

the

on

composition,
been

some

frankly

coils

in

pedimental

not

have

forms,

Serpent

have

serpents

faces

and

faces,

arranged

may

pediments.

to

red

though

unnatural,

and

crude

stripes.

and

several

in
wish

blue

tail

still

is

the

and

pediment.

vigorous,

are

shape^I,

beards,

convenient

evidently

to

well

blue

and

the

bodies

coloring

bright
red

human

of

half

occupied

once

are

The

expression.

bodies

the

of

the

elegant,

which

44)

and

mical
rhyth-

"Typhon"
Other

pediment.
eenturj-

Though

represent
still

crude,

PREHELLENIC

THE

show

they
skill

middle

the

Athens

began

which

is

that

of

the

cate"l

the

century

instead

of

the

thus

softer

statue

was

is
his

piety

his

the

marble.
others

several
bluish

(Hymet-

shows

marble,

exhibited

the

but

The
work
of

reign

of

about

sixth

the

tury,
cen-

early

of

part

the

Pisistratus.

of

The

more

pborus
Moscho-

the

style

are

advanced.

middle

works

the

workmanship

is

and

vigor

by

stone,

the

much
of

qualities

poros

dure
en-

as

like

in

sented
repre-

offering,

same

force

letter

first

who

long

the

us

(Kombos
the

work,

same

dedi-

Bombos

as

Chian

and

Style

its

FiaORi

MoschophoT

45.
"

Effect.

It

reign
new

of

style

draperj'

kind

that

were

of

are

least,
ascribed

at

Athens,

and
care

Parian

marble,
from

was

to

the

(Bru

ErsBts.)

in

features.

important

employed
at

detail

6,

introduced

was

delicacy

great

Bruckmann.

Pisistratus

Athens.

Museum,

Acropolis

the

during

was

"

them,

limestone

far

tells

inscription

making

style

of

sculptors

{Fig.

bringing

the

sixth

carrying

defaced),

and

of

beginnings

statues

man

by

tus)

the

One

marble

Rombos;

of

thus

Moschopborus

that

Thb

the

marble,

use

works

early

An

is

of

made.

45).

or

and

nature,

73

PERIODS

were

the

calf,

to

the

discussed
the

ARCHAIC

composition.

in

of

of

study

vigor,

Before

of

AND

the

The
and

Chios,

consequently

Chian

school

artists

(see

which
of

treatment

know

we

in

style

of

that
works

page

of

one

of

64).

this

this
The

74

Attic

sculptors

and

them

Attic

of

delicacy
Chian

the

Chian

whose

is

date

is

fixed

of

exquisite

workmanship

fact

their

he

style.

the

earlier

and

subtle

Attic

work

Antenor,

by
that

artists,

of

of

probably
the

by

vigor

example

An

statue

imported

imitators

the

work.

influence

the

of

retaining

the

added

skill

mere

while

school,

SCULPTURE

the

became

however,

Others,

OF

acquired

soon

of

some

HISTORY

der
un-

nian
Athe-

an

made

of

statues

Harmodius
*

and

Aristogeiton
after

the

sion

expul-

(in

510

B.c.)ofHippias,
the

of

son

PisisHere

tratus.

less

no

is
in

care

finish,

less

no

technical

lence,
excelthan
in

seen

is

Chian

work,

but

dignity

greater
and

vigor.

stiti

structive
in-

more

ple
exam-

of
work

after

Chian
shown
to

way

the

in

entirely
earlier
and

the
two

the

Attic
her

other

which
his

with

Rods

corners.

gods,

the

round,

besides

The

not

The
in

remain
of

figures
there

Zeus

was

like

now

and

must

technical
from

Pisistratus
the

figures

relief

There
two

under

scene

giants.

the

sculptures

enlarged

was

Originally

probably

pediment

sons).

pediments.

opponent,

the

by

Athena
under

possibly
the

afforded

of

temple

(or
of

is

giants,
have

Heracles.

the

artists

had

elaboration

Attic

combat
carved

are

those

only

of

Athena

which
been
Athena

the

pied
occu-

at

least

was

THE

in

PREHELLENIC

the

middle

Aegina,

with

the

strife

like

attitude,

of

equal

technical

great

mains

excellence.

far

so

group,

its

as

permit

triangular

that

the

of

of

this

of

old

Attic

to

calm

careful

the
from

the

with

also

no

the

like

the

composition

color
and

hair,

and

but

the

to

the

FiocBE

whole

applied

surface.

The

the

and

marble

works

of

the

beauty
One

the

by
but
Hie
the

of

the

the

Euthydicus
the

eyes

mouth

the

horizontal,
has

not

the
not

the

The

47).
of

is

rather

merely

early

but

paint,

reliefs

color

enhance

to

details.

Attic

city

(Fig.

mannerism

are

of

The

paint.

with

and

statues

attractive

of

of

covered

clearness

most

sack

seum.
Mu-

(Brunn-Bruck-

459.)

coat

were

marble

or

Persian

under

stone

on

dedicated

Acropolis

Athens.

beauty

hidden

poros

used

was

FiKVire

Euthydicua.

appreciated

was

not

was

47.
"

by

maiiD.

of

entire

and

clothing

not

the

pered
tem-

of

painted,

was

of

and

appears

eyes,

of

color

violence,

apparent

rate
over-elabo-

Traces

were

grace

learned

of

borders

more

vigor
is

artists

lips,

that

show

more

work

the

execution

elegance.

seem

is

ments.
pedi-

dignity,

taint

there

than

school

Chian

forms

tors
sculp-

less

relief

Attic

period

the

but

Aeginetan

In

Attic

to

balanced

mechanically

group

the

was

fitted

space,

this

re-

judge,

well

and

principal

of

the

less
The

extant

to

us

symmetrical
the

with

from

far

blood,

and

vigor

pediments
but

how
Here

flesh

the

comparison

shows

Aeginetans.

forms

in

as

46).

75

PERIODS

spectator,

Aegina

the

living

of

(Fig.

from

surpassed

not,

invisible

or

statues

ARCHAIC

pediment,

inactive

in
the

the

of

an

fighter

AND

works

of
of

statue

work

Chian

is

school

oblique,

maiden

the

time

before

dedicated

exquisite
is

in

the

not

in

seen

Chian

smile

here.
statues,

as

meaningless

detail,

the

Ctua.'o.

76

artists

before

long

like

the

work

the

work

the

attain

in

The

head

marble

of

B.C.

the
on

Acropolis

that

qualities

to

it

be

works

of

the

which

next

Attic

two

Athens,

at

may

These

greatness

course

be

it

Persians;

dated

art

generations.

the
as

but

destined
was

youth,
shows

regarded
archaic,

are

the

not

may

artist.

the

time

of

same

foreshadow

of
appearance

an

probably

of

preceding,

same

of

is

480

the

nearly

has

whole

coming
and

490

found,

head

This

the

between

the

as

personality.

real

so

and

loved,

SCULPTURE

OF

HISTORY

they

to

CHAPTER

GREEK

The

SCULPTURE.

Period

THE

Transition.

of

CENTURY

FIFTH

The

defeat

of

the

Persians

"

followed

was

Before

of

the

Persian

Greece

in

epic

and

had

poetry

had

philosophy
and

origin,

literary

had

of

into

being.

had

art

as

prose

form

come

expression
There

flourished
more

than

luxuriantly

in

Greece.
feat

There

iyric

its

too

had

Minor.

Asia

Athens.

and

cities

developed,
had

richest

Greek

been

of

development

invasion

CTie

greatest

remarkable

the

by

of

After

the

the

Persiaas

the

became

nental
conti-

"le-

Athen.s

intellectual
tre
cen-

of

Greek

Before

was

that

Greek

Ionic

which

among
of

exist.

to

schools

chief

that

was

Attic,

local

sculpture,

time

that

chiefly

was

various

Unued

art

after
;

it

though

the

time

chiefly

time

of

civilization.

Argos,

con-

The

from

of

Pericles

form

developed

art.

The

adornment
after

470

other
of
group

and

interesting

many

the

chief
of

Harmodius

the

of

period

soon

the

defeat

of

temple

finished

about

works.

One
and

time

the

is

but

B.C.,

earliest

(Fig.

to

archaic
the

to

tural
sculpbegun

Oljinpia,

at

457

Aristogeiton
77

this

Zeus

of

Persians

from

transition

of

monument

the

of

years

there
of

48).

are

these

The

HISTORY

SCULPTURE

OF

Hippias

the

Persians.

To

Critius

is

the

its

in

circular

with

covered

dots,

and

statues,

the

Persians,
be

might

mingled

the

after

the

Attic

art

Ionic

of

those

with

hibit,
ex-

expected,

early

of

qualities

the

sumably
pre-

of

work

immediately

as

round

are

These

of

tended
in-

curling

eyes

Attic

defeat

almost

represent

full.

Hai"

the

of

head

The

time

and

vigorous,

to

and

put
forms

nude

grooves

hair.

been

The

The

is

of

head

has

powerful,

modius

Naples.

Aristogeiton

style

lifelike.

group'

youthful

place.*

are

this

the

ists,
art-

two

at

of

later

much

^em

Nesiotes.
of

and

i,s lost

by

museum

head

The

by

replace

and

cxjpy

in

page

away

made

were

marble

(see

taken

been

statues

after

expelled

was

had

74)

Antenor

by

made

statues

art.

The
of
but

oriKiiial

The

Greek

artuts

copies

be

the

under
"

AS

The

were

two

that

with

artists

copies

Such

atatuea

famous

the

From

proved

are

fashioiiable

were

of

may

given

and

this

by

be
aDcient

name,

separated

style

to

uumeroiu

of

copy

A
the

writers
as

to

by

the

century

belief

the

warrant

in

Aristogeiton.
Calamie

concertiins

time.

such

Madrid.

in

head
of

head

beeo

have

must

HarmndiuB,

of

head

contradictory

apparently,
of

the

the

and

bearded,

course,

Phereeydea.

informatioD

and,

confused

of

was.

called

formerly

eiistinK

many

of
writerii.

Empire.

Roman

accord

are

of

idea

works

anc^ieut

by

him

about
Some

origiiial

the

described

meaiu

works.

famouu

head

The

to

of

many
other

by

and

all

Calamis,

was

defective.*

Nearly

brooie.
but

lost,

are

descriptiona

these

of

waa

time

information

our

is

this

tor
sculp-

Attic

noted

most

ia
that

Theo

there
refer-

so

and

but

carved

were

Argos

cast.

face

thirty

Sicyon

and

little

of

reminds

but

vases,

OF

perhaps

know

we

The

HISTORY

us

that

is

of

bronze

statuary,

schools

the

this
was

for
their

of

some

before

more

famous

work

of

or

years

were

the

SCULPTURE

faces

this

at

time.

drawn

Attic

on

sufficient

for

reason

no

or

other

any

the

as

Calamis

claiming
Attic
of

creator

It

is

better

masterpiece

the

statue.

admire

to

it

as

of
an

artist
when

artist

of

Greek

the

art

from

known
un-

period
vancing
ad-

was

archaism

to

perfection.
The

Metopes

Latest
The

Selimis.

from

latest

topes
me-

"

Selinus,

from

four

which

of

are

of

the

series

local

of

nude

is

style

earlier

far

there

the
is
in
but
of

Persian
that

of

reminders

are

invasion,
of

far

are

Zeus

more

at

the

closely
Oljmpia.

but

statues

related

postures

In

the

and

hair,

the

of

to

of

the

the

position
com-

and

excellent,
well

chosen.

of

treatment

other

some

made

sculptures

general

impression

work.

These

Harmodius
the

vanced
ad-

more

metopes,

the

archaic

the

advanced

more

respects

some

of

of

are

that

is

representation

parts

represented.

are

than

the

in

Mythological

scenes

drapery,

but

figures

marble.

The

of

stone,

the

female

earlier

66),

coarse,

series

like

three

(page

this

served,
pre-

carved,

are

those

only

sculptures

before

produced

metopes
and

details,

recall

Aristogeiton,
of

the

temple

SCULPTURE.

GREEK

or

B.C.,

assigned

the

to

Fig.

51,

the

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the

Evidently

appreciation

hundreds

figures

gradually,

which

the_ua"_Q^

for

carve

The

the

and

of

consistent.

frieze

ward
up-

parts

lower

background

execution

natural,
to

fine

the

upper

the

relief.
fall

must

the

light

low

of

in

always

curves.

course.

artist

the

fore
there-

reflected

parts

while

sharply,

increased^b^^ color,
is

lower

frieze

shadows.

cella,

shadows

the

^"^

are

relatively

than

background

outlines
as

the

made

that

entablature,

deep

and

the

below,

artist

the

cleam^s

were

as

from

was

of

they

the

in

or

^hble.

the

casts

carved

young

sacred

eastern

the

sunlight

diffused

presence

of

of

stools,

from

The

wall

only

therefore

was

came

upper

oblique
The

receiving

it

the

the

Acropolis

of

his

procession

the

relief, which
on

up

the

outside

Attic

of
over

peplos,

sacred
in

the

on

high

high

was

the
of

her

ant
attend-

knees

taking

significance

the

of

very

therefore

placed

Iris

carrying

divinities.

great

brightness
in

be

purpose

religious

were

carved
The

the

the

expresses

maidens

accomplished

seen

them

figures,

iu^mediately

to

on

seated

the

probably

Athena

six

upon

seems

The

to

and

with

two

cloth,

goddess.

the

bring

folded

large

of

who

priest

and

middle,

consisting

and

side

leaning

the

In

group

priestess,

to

Eros

97

CENTURY

each

(Fig. 61),

and

Aphrodite.

FIFTH

at

are

gods

Hera

mother

There

us.

great

upon

THE

In

fact,
In

all

Everywhere

the
its

The

pediment

of

Athena

for

the

of

the

Athena,

and

present,

and
of

in

from
1674

the

ment
state-

the

but

the

represent

when

time,
entire

the

then
was

sculptures

central

group

Prometheus,

or

them

while

childbirth,

certainly

were

the

probably

were

Zeus,

destroyed.

even

Hephaestus,
with

know

Poseidon

peduuent

eastern

goddesses

ahnost

were

with

birth

we

made
that

the

east

Athena

of

This

at

the

at

strife

Attica.

were

end

western

the

Drawings

they

as

SCULPTURE

represented

west

Pausanias.

pediments

of

the

at

possession

the

OF

sculptures

and

of

of

HISTORY

in

above,

Eilithyiae,

the

of

centre

very

the

pediment,

floated
of

the

goddess
Nike,

victorj',

the

or

constant

panion
com-

of

Athena.

the

So

is

scene

represented

on

in

puteal
Each

Madrid.
had

statue

plinth,

separate

and

marks

the

left

blocks

the

of

the

on

which

cornice

ported
sup-

the
that

indicate

left

figure

the
these

to

next

been

also

Horae,
(Fig.

62),

interpreted
the

In

OljTnpus.

figures,

beyond.

often

called

one,
Perseph-

the

of

Mount
his

driving

snn-god

male

Dionysus,

or

personification

Helios,

corner

Theseus

the

bearing

superb

The

at

at

Iris,
and

Demeter

just

just
him,

is

left

the

perhaps

as

before

standing
toward

figure

seated

two

Athena

extant

possibly

or

has

first

to

news

with

centre,

The

right.
the

the

of

Zeus

seated

was

the

statues

four

horses,

rises

figures

at

been

from

the

right

the

{Fig,
the

interpreted

63),
three

as

of

moon-goddess,

The

splendid

three

sea.

aspects
in

her

of

nature.

four-horse

called

usually
Attic

the

and

Horae,
In

chariot,

the

have

Fates,
also

as

sonifications
per-

the

Selene,

corner

sinks

female

draped

into

the

sea.

SCULPTURE.

GREEK

The

central

the

most

with

of

group

in

part,

In

gift
struck

just

the

Poseidon

his

centre.

Behind

behind

Poseidon

The

nude

the

with

left

her

chariot,

with

figure

beside

Athena's

olive

the

and

Irb,

the

the

Probably

river-god,

draw

back

driven

by

from

chariot

heroes

who

and
in

the

probably

of

Attica.

to

the

loss

of

sure

the
of

drawings
if

(3)

or

we

cannot

the

people
of

personifications
is

interpretation
heads

1674,

of

and

fully

the

the

abnost

total

interpret

of

absence

and

interest

the

countr"'

impossible,
the

the

The

their

and

divinities

Attic

features

statues,

are

gods

(I)

(2)

be

may

comers

as

contest,

Athenian

Museum-

Calirrhoe.

nymph,

and

driver.

figure
the

interpreted

at

the

symbolizing

event,

been

present

were

heroes

But

have

figures

and

Ilisus,

or

in

figures

the

Nike,
as

female

has
stands

right

Amphitrite

draped

recumbent

Cephbus

remaining

the

corresponding

tree,

who

British

Hermes,

in

now

Athena,
At

chariot,

hb

Kertch,

stands

figures

her

is

reproduced,

sacred

spear.

Both

Athena

male

the

trident.

the

was

At

from

for

shown,

13

and

1674,
vase

centre

ground

with

of

99

CENTURY

pediment

ancient

an

Athens.

to

FIFTH

western

drawing

on

Petersburg.

Athena's

the

the

changes,

sopoe

St.

THE

owing

imperfections
of

meaning

of

attributes.
the

artist
"

100

intended

to

convey,

and

figures

the

works

of

trace

the

to

the

of
"

recumbent

athletic

of

each

the

correspondence
male

to

that

one

is

as

way

these

is

drape"l,

produce

is

it
rich

as

but

nude

metry'
Symin

varietj'

attains

composition

such
With

rhythm.

harmonious

is

forn}

youth.

with

of

here

of

but

mechanical,
female,

"

side

one

side,

to

combined

massive,

figures

at

other

man

and

pedimental

groups,

to

is

drapery

the

or

bearded

but

preserved,
to

exact

corresponding

figure
is

longer

no

the

the

unsurpassed

those

at

in
in

the

Olympia,

groups,

those

to

is

at

in

arranged

corresponding

varie"l,

As

ing
accord-

the
and

Theseus

the

timidity

or

pediment,

is

of

notably

master;-,

form.

these

Here

designed

cases,

eastern

of

division

difficulty

some

so-called

nude

are

middle

the

the

the

the

In

Greek

Olympic.

centre

no

position
com-

by

comparison
of

the

ostentatious

of

pediment

in

the

made

mechanical

frontality,

of

almost

figure

portrayal

"

by

no

drapery.

Fate

with

treated

of

individual
of

progress
seen

figure

the

movement

sculptures

upright
law

treatment

is

of

beauty

astonishing

stiffness,

an

old

the

rhythmic

pediment

archaic

by

pediment

and

generation

the

SCULPTURE

admire

can

The

one

with

no

we

64).

in

OF

variety

(Fig.
sculptors

HISTORY

its

greatest

perfection.'
The
remains

of

sculptures
of

Greek

the

Parthenon

decorative

of

Greek

igbt

be)

ital

according

siie

OB

The

the
lack

of

heisht
of

such
r

the
;

difhtulty

of

filling

pediment.

the

it

since

compoHition,

which

to
than

larger

enabled

the
"""

metopes

the

rest,
the

.'f"-

eapecially
artiat

apace
"--"
"

are

important

most

was

triaiiEular
."

the

among

The

sculpture.

art,
made

unequalleil

are

to

coo-

make
diminished

hia

SCULPTURE.

GREEK

the

thfr

of

Pericles.

Phidias

the

Parthenon.

which

is

the

(very

only

to

poor,

and

sure

the

Phidias

and

be

of

sure)

direct

Plutarch

the

building

generally

decorative

evidence

tions
opera-

of

is correct,

establish

direct

any

The

sculptures.

Athena

Parthenos
for

have

we

says

sculptures

those
the

sidered
con-

assumed

statement
not

frieze,

was

and

been

it does

certain,

between

of

if Plutarch's

even

means

no

of

the

with

time,

therefore

artist

But

connection

copies

the

his

of

band

Phidias

superintendent

has

It

was

by

of

Theseum,

continuous

no

unrivalled.

sculptor

general

so-called

comparison

are

groups

was

that

bear

can

greatest

Phidias

that

the

examples,

which

pediment

of

and

Olympia

earlier

exists

sculpture
and

of

speak

to

not

of

those

to

superior

101

CENTURY

FIFTH

THE

are

of

style

the

Phidias,
less

and

advanced

than

c*olossal

was

decorative
but

well

in

as

Indeed,

since

possible

that

is
on

Parthenos
the

the

that

possible

by

was)

frieze, which

that

in

the

parts

would

in

one

as

from

Fifteen
to

the

432

it

before

he

the

if
when

in

is

style
we

the

the

the

reckon
records

the

from
of

he

but

the

date
on

of
the

the

metopes
It

designed
style,

the
of

the

of

six

beginning
cease.

and
The

Parthenon
of

genius
or

years

the
to

is

Athena

the

then

yet

building

there

but

other.

Parthenos

Athena

work

as

quite

groups.

of

space

the

person.

one

advanced

aspects

is

the

pediment

brief

it

(as

that

style

artist.

same

the

on

adornment

possible;
of

the

and

this

on

artist,
it

more

different

developed

found

than

one

438,

created

ivon;

in

number,

more

of

and

later

show

That

years,
B.C.

Phidias
a

by

were

in

explained

designed

were

sculptural

case

more.^

progress

of

in

sculptures

metopes

and

gold

to

between

style

Athena'

the

figures

not

ascribed

work

pediment

years

that

man,

little

of

is in

next

three

the

course

themselves

were

designed

were

the

can

be

ninety-two

evidently

or

not

of

among

be

for

pediment

thev

not

were

similarity

hand

one

differ
If

would

they

is

close

no

than

execution.

they

frieze

The

marble,

again

they

the

much

Of

figures.

expected,

and

greater

metopes

temple,

same

of

be

and

simpler

pediment

to

statue,

is

difference
The

as

cult

the

is

style

much

style

of

sculptures

the

way.

that

of

difference

some

exhibit

they

of

stages
that

of

the

of

the

non
Parthe-

102

HISTORY

pediment

groups

it certain

or

of

under

developed

that

proof

no

work

the

one

Sculptures

Athens

with

temple

the

The

pediment

from

in

square

they

of

school

who

than

frieze

represents

like

are,

Parthenon,

friezes

composition

the

reliefs

for

square

frieze

western

the

as

Parthenon.

friezes

are

excellent

sit.

Lapithae

and

spaces,
a

were

and

one

repetition

general,
in

design

of

however,
and

are

better
The

The

small

these

the
frieze

western

In

the
reliefs

both
often

groups,
to

the

to

compose

in

groups

of
the

of

invisible

Centaurs.

one

deities,

frieze

TTie

execution.

the

below.

seated

accustomed
of

are

Parthenon.

be

into

up

that

above

eastern

to

such

they

and

the

they

artist

the

the

friezes

from

battle

in

is broken

if the

In

of

supposed

of

is almost

of

that
of

than
is

and

fill thel

to

high

so

light

frieze

deities

combat

persons,

the

relief.

The

Parthenon,

whom

among

not

the

labo^

high

probable

rather

them.

are

scenes

undoubtedly

the

two

of

it

condition

about

receive

seated

represents

of

the

that

the

beings

human

of

in

greatly

the

adapted

Myron

and

metopes

them

makes

present

said

also

higher

eastern

of

They

frieze

they

though

is

be

well

style

pupils
their

can

the

as

lighted,

the

preserved.

spectator

their

porticos]

suffered

In

and

composed

but

definite

better

relief

of

have

represented

were

metopes,

opisthodomusV

the

but

western

defaced.

general,

Phidias,

nothing
far

In

Apteros),

and
and

at

so-called

was

pronaos

metopes

much

well

works

are

all

are

erected

sculptured

eastern

The

are

(Nike

disappeared,

Theseus

were

spaces.

the

place.

and

groups

the

have

and

exposiu*e

The

is

sculptures

the

Theseum

eighteen

across

in

century

Nike

groups,

groups

Heracles

they

buildings

fifth

so-called

ceiling

still

are

it

as

there

the

of

other

the

Athena

The

friezes

just

of

of

pediment

below

friezes

three

half

temple

continuous

and

that

or

Portions

"

adorned

Erechtheum.

the

art

though

Phidias,

work,

own

Theseum.

second

the

Theseum,

of

the

which
the

in

his

are

of

sculptures

Athenian

of

make

to

as

decorative

products

influence

detail

man.

of

extant

are

-the

they

of

the

are

such

The

probable.

very

Parthenon

the

in

traced

be

cannot

even

SCULPTURE

OF

metopes
of

the
of
these

104

HISTORY

skill

with

full

the

in

and

is

but

natural,

not

When

these

effect

of

The

the

exults
it

wonderful

reliefs

balustrade

must

Erechtheum.

been

was

"

of

exceptional

now

remains

of

building

which

and

the

chiselled
frieze

figures
iron

of

white

dowels

of

the

or

of

Pentelic

or

of

myth
single

enable

have

and
The

the

in

of

The

Attic

type,

In

frieze
for

and

fiat

of

The
were

since

back)

money

was

exadently

There

who

in
had

the

had

to

times
worked

just
on

paid

were

figures

be

fastened

as

large

number

before
the

and

Parthenon

the

of

during
were

diflferent
workmen

mere

as

skilled
the
still

stone

than
of

such

charm

(Fig.

the

usual

that

these

workmen

Peloponnesian
available.

in

$13

the

carving

feet

two

dark

more

but

new,

The

pay

high

and

mentioned.

about

number

not

commission
for

paid

are

to

the

by

were

(somewhat

artists,

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sums

kind.

master

the

the

and

than

been

the

considerable

regarded
been

to

drachmas

60

paid

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of

was

of

usually
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of
admirable

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figures

expended

money

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figure
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not

have

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especially
those

ordinary

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the

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square

Erechtheum,

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the

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the

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hence

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procession

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the

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by

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grace,

them

proclaims

inscription

an

of

firmness,

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fully
beauti-

stone,

continuous

as

of

represented

all later

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female

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60).

charge

the

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western
south-

rosettes.

damaged

The

judge.^

combination

these

much

the

the

with

gray

figures,

columns,

workmanship

The

as

to

us

served

idea

but

so

of

attached

not

three
the

capitals

and

were

Erichthonius,

far

of

figures probably

assemblage.

fine,

figures

The

pegs.

female

adorned

dark

its

encircled

and

were

marble

filled

necks

very

temple
Nothing

the

palmettes,
of

band

the

mouldings

guilloches,

cotisisted

bases

carved,

Ionic

architrave

the

indeed.

which

also

are

the

support

richly

door-casings,

as

Moreover,

were

frieze

the

gilded,

an

have

may

the

preserved,

are

porch.
columns

which

of

fragments

Caryatids,

or

figiu-es

were

reality.

adornment.

rich

imusually

and

the

but

pediments,
whole

form

and

to

drapery
of

brilliant

Erechtheum

The

Such

colored

have

if it

as

impression

were

cling

to

mastery.

the

produces

times
Some-

seems

it, almost

his

in

it

again

beneath

forms

artist

and

treated.

is

drapery

folds,

graceful

the

SCULPTURE

flowing

vigorous

Here

wet.

the

which

it falls

OF

background,
"2,128.).

or

who

persons,

artisans.

or

at

War,

Athens,
when

GREEK

SCULPTURE.

figures

tlie

are

Argive

the

from

because

than

that

of

Amazon
is

schools

of

the

the

latter

In
of

influenced

in

but

out
through-

N^e^

At

ment.
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Bassae,

the

curius

Museum)

in

Greeks

no

the

Strong

for

actual

scribed,
deand

free

which

bold,

its

and

tempts
at-

is

foreshortening,

certainly

Attic

of

successful,

always

Attic

is

frieze,

remarkable

almost

that

just

design
This

at

is

to

reliefs

Athenian

not

Centaurs
Amazons.

equal

\igorous.

tles
bat-

the

workman.ship

means

the

EpiBritish

with
the

Although
by

the

with

Lapithae

frieze

Apollo

represents

of

is

of

(now

and

the

Arcadia,

temple

Phi-

near

"

of

Gjol

PIngglein.

The

in

nental
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CENTURY

105

106

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GREEK

SCULPTURE.

little

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CHAPTER

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QualUies
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SCULPTURE.

GREEK

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400

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conqueror

after

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349
;

Alexander

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109

CENTURY

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110

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112

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SCULPTURE.

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113

CENTURY

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FOURTH

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114

attempt
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SCULPTURE

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SCULPTURE.

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115

CENTURY

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116

HISTORY

inclination

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support

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to

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other

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copies

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identified

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SCULPTURE

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GREEK

SCULPTURE.

exquisite
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117

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120

HISTORY

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121

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122

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GREEK

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THE

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124

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CHAPTER

GREEK

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Alexander

The

HELLENISTIC

THE

SCULPTURE.

PERIOD

The

Sarcophagus,

acder

led

to

Minor,

Asia

Greek

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and

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sarcophagus,
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called

splendor,

at

the

extreme

126

HISTORY

OF

This

sarcophagus

is

coloring

is

exceptionally

well

yellow,

and

left).

colors
the

are

brown

end

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of

scenes

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but

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lively

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Demoathenea,

77.

work,

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and

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earlier

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school

spirit

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art.

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SCULPTURE

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128

other

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GREEK

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PERIOD

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130

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131

PERIOD

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132

HISTORY

round.

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in

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SCULPTURE

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no

excitement,

fear,

and

wild,

of
the

to

pain
insurgent

heavenly
while
with

the
utter

nature.

SCULPTURE.

GREEK

The

mighty

the

utmost

Gaul,

figures

ceasing

to

be

realistic

the

of

size,

well

as

The

it

thing

about

stand

and

the

Reliefs

with

this

was

where

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phon

of

Arcadia,
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great

and
of

at

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with
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of

walls

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skill

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decorative

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in

be

origin,

practices,

devoted

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execution

seems

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of
to

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those

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and

works

the

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formed

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of
no

in

is

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created
the

design,

have

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ments
Frag-

B.C.

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at

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and

admirable.

something
He

his

of

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to

Damo-

to

century
found

artists

andria.
Alex-

developed.

second

the

Where

Hellenistic

Hellenistic

contemporaries.

in

ings,
build-

perhaps

of

rate,

remains

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reliefs

to-day.

certain,

statues

such

Pergamon,
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of

colossal

that

influence

conception

powerful,

walls

to

should

words

part

trees,

also

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other

artist

of

all

Praxiteles

hair,

few

century,

plays

Here

our

any

many

an

group

are

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at

picturesque

sixth

"

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on

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in

picture.

apparently

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Messenia,
of

of

with

Damopkon.

be,

to

seems

carried,

Rome,

is

originated
It

the

building.

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surface.

pictures

the

classical

fastened

were

hang

the

backgrounds

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we

custom

and

as

picturesque

as

purposes,

in

is

of

than

the

on

it

served.
pre-

dation
foun-

compared

landscape

the

plain

appear

panels

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from

out

like

the

in

be

is

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relief

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ling
start-

less
and

occupied

and

but

reliefs,

ft

reliefs,

early

some

is indicated,

Assyrian

carved

the

which

and

beautiful.

much

higher

vigor,

grand,

Telephus

much

position

In

figures

is

supei^

ability

than

frieze

of

myth

It

remarkable

some

the

smaller

the

without

life and

than
rather

in

background

in

the

of

this
in

these

inventive

rather

with

background.
the

the

in

is full
of

wonderful

Of

than

exaggerated

frieze

Parthenon,
as

most

be

colossal

"

Pergamon.

of

is

represented

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that

great

impressive,
Relief.

thought

to

in

Here,

apparent

could

strained

are

more

even

monument

it

yet

than

Pictureaque

frieze

This

alike

struggle.

details

brilliant

execution,
rather

is

133

PERIOD

giants

sculptors

iifeiike.

wonderful

skilful

if the

and

and

portentous

realism

as

human

gods

their

combat,

Dying

of

muscles
in

symbolic

HELLENISTIC

for

his

texture

boldness
and

effective

modem
school

the

traditions

sionist
impresand

had

134

HISTORY

no

successors

date

has

been

age

was

the

and

the

The

Laocoon

Whether

Group.

the

the

of

art

of

works

earlier

that

now

development
of

imitation

one

works,
the

that

the

to

his

of

proves

confined

not

SCULPTURE

discovery

determined,

hand

the

but

OF

istic
Hellen-

realism

on

the

on

who

sculptors

his

other.
worked

"

Pergamon

at

themselves

were

Fergamenes,

or

whether

the

school

which

they

represent

developed

was

Pergamon

at

or

elsewhere

may

be

never

known.
it

Possibly
have

in

been

origin

but

at

its

rate

most

brilliant

work

done

was

its

Rhodlan

school,
any

may

gamon.
Per-

at

Its

great

was

and

fluence
in-

long

tinued.
con-

This
the

in

seen

is
mous
fa-

Laocoon
in
FioDRi

SI.-

Pliny

Vatican.
the

gives
of

the

fix

their

three

date

ancient
realistic

art,

from

it

sculpture

is

81)

(1506)

time

and

group,
40

was

when

They

then

as

were,

famous

especially
there

only
known,

greatest

well-preserved
the

names

Pliny

group
of

its

names

Rhodes
tells

us,

Polydorus.
it

because
the

at

and

Athanodorus,

was

the

found

inscriptions

B.C.

Agesander,

{Fig.

group

this
far

not

Rhodians,

This
at

of

sculptors

the

now

group

found

was

in

iiHerest

of
authors

ancient

were

136

HISTORY

Venus)

and

clearly

derived

from

divinity

has

whose
works.

the

The

named

the

dei

first

century

Genetrix

Caesar,
and

by

several

but

B.C.,

style

not

was

of

the

of

various
a

the

first

century

an

Italian

eles,

the
87

B.C.

B.C.

82.

Louvre.

(Bnum-Bnu^lciDBiui,

Pnris.

of

by
the

Menelaus,

style

archaic

good

of

archaic,

the

traits

that

example

of

correctly
simple,

the
but

he

his

in

patriots.
com-

were

wrote

Of

merous,
nu-

his
or

book
works
has

none

but

works

are

473.)

by

extant

and

works

identified,

been

ceived
re-

citizenship

remains,

nothing

VenuaGene-

"
"

The

who

with

sculpture.

on

of

Pasit-

was

Greek,

common

and

Fiaoan

Gardens"

94).

Roman

in

possibly

sculptor

His

trii."

the

that

tion,
adapta-

an

(page

pose

century

work,
in

is

show

Graeco-Roman

the

general

but

earlier

Alcamenes

coins

head,

fifth

details

"Aphrodite

of

Julius

of

The

the

copy,

an

of

statue

and

drapery,

the

recall

this

82).

(Fig.
of

Venus

copies,

of

known

of

aid

extant

appearance

folds

forum

the

the

artist,

statue

the

for

and

of

Greek

made

Lysippus,

middle

B.C.

Arcesilas,

later

Athenian

by

the

About

these
an

invented

it.

it

by

are

Praxiteles,

in

signed

type

debases

which

of

human

too

Heracles,"

and

of

Aphrodite

all

reproduces

both

Medici,

Cnidian

become

"Farnese

exagfjerates

SCULPTURE

Venus

famous

Giycon,

but

OF

indicate
these

the

Stephanus.

school

Argive

called

treatment

of

pupil

of

the
works

Electra
of

proportions

hair

is

and

and
are

These

the

time

fifth

group

Orestes.

more

century

like

B.C.,

with

Polyclitus.
in

The

drapery

pupil,

imitations

are

before

just
the

his

Stephanus,

for
those

Naples,
postures
the

most

adopted

ably
probare

part

by

GREEK

SCULPTURE.

of

part

the

fourth
a

of

still

day.

Besides

earlier

and

works

in

popular

works

fifth

the

copied,

and

the

Figures

in

archaic

century

but

are

recognized

the

be

as

of

style
work

is

consistent.
with

conjunction
of

structures

as

plicity
sim-

reliefs,

to

in

seen

their
there

ancient

one

careful

not

are

in

archaic

exactly

no

such

Pasiteles,
of

not

work
of

Neo-Attic

less

or

drapery
are

the

the

is

new

popular
of

imitation

So
more

artists

which

that

number

were

school

Rome.

reproduce

of

buildings

show

this

in

The

they

upper

of

Evidently

art.

the

the

influence

reproduce

to

of

which

the

periods.

that

and

school,

Argive

simpler

shows

the

called,

are

Attic

later

137

PERIOD

betrays

attempt

existing

was

they

of

even

others

many

early

Electra

conscious

effect

the

of

or

but

works

are

of

drapery

century

copy,

the

those

than

Lysippus

HELLENISTIC

the

imperial

for

Romans

period.
Much

of
the

was

the

work
of

influence
it

sculpture
of

Greek

Greek

developed

Late

Greek

Such

Roman

and

of

the

exerted

Roman

yet

that

continued

works

art;

from

Rome

at

artists

art.

upon

is

produced

powerful

sculpture,
has

Greece,

ditions
tra-

though
of

history

its

own.

Art

in

Ana.

In

the

eastern

"

in

world,
of

Greek

and

tastes.

the

and

and

figures

became

late

many

from

of

its

Greek

overloaded
art,

of

its

late

Sidamara

and

its

confused

oriental

that
its
in

and

tasteless

orative
dec-

It

is

from

Byzantine

art

inspiration.
Asia

is

Constantinople),
its obvious

the

and
of

ornamental

simple.

of

even

But

by

parts

less

art

in

ornamentation,
and

India,

and

seen.

Asia

purely

much

Hellenistic

{now

is

time

Asia

western

ditions
tra-

to

origin,

mere

more

and

motives

oriental

effect

in

Greek

conquests

conventional,

same

popular
art

of

example

sarcophagus
with

of

the

at

more

Hellenistic

brilliant

more

while

its

more

and

the

extended

influenced

became

It

the

Hellenistic

sculpture

profoundly

by
with

contact

influence
is of

became

reliefs

in

Greek

of

affected

regions

came

Buddha

was

pattern,

carvings

derived

art

practices.

in

the

Japanese

itself

art

taste

of

type

Chinese

Greek

the

and

Alexander,

where

in

Minor

Asia

part

great

which,

reminiscences

magnificence

HISTORY

OF

SarcopbaKus

(Fig.

83),

Hellenistic
time

after

shows

how

when

Christ.

the

from

far

sculpture
sarcophagus

SCULPTURE

of

from

ConBtantinDple.

Sidamara.

the

was

made,

Hellenic

art

the

departed

at

the

of

purity

Minor

Asia

had

in

the

third

century

CHAPTER

VIII

ETRUSCAN

in

Immigraiion
century

B.C.

and
this

movement,

population
peoples

Into

came

they

of
Greece

was

the

invaders

of

the

earth,

their

early

well

The

and

of

the

whole

of

The

the

it is
are

art

vaders
inin

descendants

large

over

were

part
other,

no

them

among

may

if

Arno

art

the

that

ascribed

the

of
of

the

any

some

to

and

or

the

139

yond.
be-

even

of

coast

For

until
several

virtually

of
even

Greek
to

no

tribes.

Italic

independent

or

the
the

Apennines

imitations
Etruscan

and

eastern

kind,

an

the
of

valley

Tiber..

Etruscans

time

throughout

Tiber,
the

along

developed

never

unlikely

to

the

and

all, crossing

at

the

among

commonly

the

spread

of

Oscans,

of

course

part

Apennines,

little

indeed,
not

eastern

Etruscans

Samnites,

as

In

the

the

races,

known

head-waters

was

either

latter,

though

tribes

hardly,

there

sculpture,

of

were

the

civilization

if there

forth.

30

the

from

Italic

reached

centuries

to

well-

nor

as

the

rule

distinct

two

and

over

Tuscany,

peninsula,

they

of

But

even

afterwards

over

Reno,

The

which

tribes

spread

up

of

were

the

land,

progress

condition

and

civilization

Italy.

reason,

the

Volseians,

Etruscans

were

the

New

interest.

Italic

Umbrians,

in

the

destined

that

and

newcomers

and

the

Italy
for

history

prove

than

rapid
of

rate,

any

of

change

rich

no

of

part

Greece.

to

of
for

ready

so

East

the

found

they

the

was

and

possession

perhaps,

more

of

in

At

but

also,

took

to

Greece

limited

eleventh

peoples

regions

in

means

Italy

Greece.

the

and

the

and

disturbance

no

civilization

themselves,

tribes

Invasion

the

by

were

developed

Po,

Dorian

but

About

"

of

Europe

The

North.

Etruscans.

movement

southeastern

in

place

The

Italy.

great

SCULPTURE

art,

work,

imported

140

workmen,

Greek
descent.

of

that

the

little
not

and

due

fine
con-

and

seventh

from

who
the

century

time

Greek

the

that,
Greek

were

alphabet,

continue

arrive

to

Etruscan

Athens

in

the

centuries

chiefly
Under

earliest

of

statues,
when

and

Etruscan

boots.

the

few

types

second
was

that

erted
ex-

present
Etruscan
twisted

Apollo
are

Etruscan

models

Greek

with

an

and

Italy.

the
or

of

period

thedecadence

third

statues

wears

infiu-

Etruscans

natural

often

Gauls,
A

the

of

imports

entire

southern

is

form

Greek

after

the

part,

goddess

from

adopted

most

though

less

by

it

the

Even

Greek

the

and

hand,

strong

In

states

Carthage.

modified

trade.

are

felt

the

among

upper

shows

they

circumstances,

The

armlet,

was

century.

for

the

cian,
Phoeni-

sixth,

of

of

part

predominant.

throughout

Greek

the

allies

adopted

influence

the

Greek
as

an

by

follows,

prcTOdents.

(torques)

Greek

these

sculpture

early

third

art.

latter

strong

got

through

Etruria

life, though

the

of

political

which

chiefly

in

national

fact

ship,
workman-

national

in

master

new

the

was

Greeks

had

some

of

part

influence

felt

time

measure,

differences

foreign

In

ently
consist-

"

early

the

Etruscans

probably

ence,

of
of

progress

advanced

some

or

coming

influence

for

sixth

that

before

the

in

the

Naturally

develop

not

in

come

is, until

more

changes

Influence.

and

century

Etrurians,
in

Greek

is, Carthaginian,

that

did

called

so

B.C.

these

always,

gradual

Etruscans

had

that

specimen

new

the

the

they

century
of

the

to

some

to

sixth,
works

apparently

accident,
of

than

Phoenician

of

shall

properly

after

remained

It

and

to

or

rather

the

word

we

Italy

sculpture

sculpture

Etruscan

abroad

life in

until

the

rationally.

were

But

(apart

than

this

to

Italic

Italy

more

Phoenicians,

the

even

art,

their

and

imitated

imported

the

and

of

men

in

for

calls

and

them

Greeks

possibly

But

of

art,

among

the

or

peoples.

from

centuries
to

appear

Etruscans

style

by

sculpture

that

sculpture,

attention

seventh,

an

pre-Roman

Etruscan

first

with

contact

the

made

discussion.

During

did

SCULPTURE

been

Greek)

is

is

our

paid

have

only

which

comment

OF

may

The

from

of

HISTORY

wears

purely

and

the

types
cations,
modifi-

necklace
a

lace,
neck-

Etruscan,

ETRUSCAN

them

among

The

chief

that

Perusia

for

and

There

seems

artists

of

art

and

have

the

Statues.

The

statues

had

^ven

of

Capitoiine
are

internal

any

Statues,

Etruscan

of

the

the

sixth

given

of
and
the

to

deposited

were

is

heads

naturally

with

body
step

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human

group";
wife

arms

is

to

say,

movable
and
was

bead.
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of

seated

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at

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form

"

the
is

feet.

cinerary

represented
A

still

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dead

of

these

of

and

tic.
realis-

its

Greek

seated
"

lying

figure

But

when

influence
A

statues.

is the
on

to

within

Greek

statue

was

body,
hollow

place.
to

the

step

deposited

were

further

next

ceased,
de-

the

thus

human

succumbed

archaic
"

the

in

in

the

and

vases,

statue,"

again

in

head
of

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of

ashes

back

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portraits

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ash-urns,

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vigorous

cinerary

artists
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types

development
the

set

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taken,

increased.

the

the

appearance

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was

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head

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human

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to

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urn

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art

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mentary',
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likeness

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temple

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fifth

the

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selves
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on

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terra-

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Arretium,

stone,

for

little

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centres,

for

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been

demon

Cortona,

were

Clusium

statues,

to

141

hideous

the

plastic

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these

isolated

an

of

bronze

alabaster,

Chanio,

of

centres

SCULPTURE

"

cinerary

couch,

development

with
adds

142

HISTORY

slaves

standing

some

Such

of

natural

another
in

The

origin.

connection

relief

couch

the

on

small

are

are

part,

scenes

the

relief

is low

though

not

appear

to

always,
be

and

cinerary

naturally

statue

laid

was

in

when

that,
the

Where

coflin,

stone

Sometimes

Most

was

coffin

portrait

times

the
one

of

custom

the
in

form
the

in
cistae

are

value

on

Here
art,

way

same

real

as

Some

dimensions.

really

whatever.

the
but

Among

forms

the

of

work

the
whereas
the

from
and

Cervetri,

attitudes
is

careful

have
and

the

the

of

in
stiffness

effect,

decorated

difference

man

now

the

took

urns

being
and

sarcophagi
are

the

are

common.
un-

where

were

on

others

first

not

are

cinerary

only

statues

tor,
sculp-

gus,
sarcopha-

places

these

the

sarcophagi,

excellent,

sarcophagus

and

sarcophagi,

wife

in

took

represented.

upon

the

prevailed,

it

the

of

the

his

B.C.,

unnatural

sarcophagus.

evidently

and

man

the
mind

reclines

century

dead

diminutive

is

deceased

desired,

of

the
dead

sarcophagus,

not

was

the

and
the

The

was

in

without

vase

the

it

lid

scene

of

third

the

is

only

person

burning
of

banquet

the

About

and

the

on

bed

the

reliefs

the

where

vogue

deceased

figure

consisting

groups

the

The

usually,

quite

receptacle.

bed,

on

of

that

seems

frequently
but

as

reclining

other

natural

the

vases.

being

in

waa

like.

general,

Canopic

into

came

the

the

it

at

The

burial

the
of

form

Canopic

Chests.

of

most
at

the

work,

"

burned.

or

Ash

the

forms

in

Greek

the

of

Chiusi
sides

for

and

ing
reclin-

man

The

human

clumsy

archaic

Greek

mourning

games,

and

of

naturalism

Sarcophagi

funeral,

the

in

from

represent,

the

funeral

heavy

is the

has

whether

type

sarcophagi.

modelled,

imitations

and

vigor

were

the
well

not

familiar

figure

which

but

vase,

monuments

and

with

procession,
and

chief

school

however,

banquet,

Other

reliefs

connected

bier,

the

Canopic
the

is not,

Canopic

is

not,

cippi,

with

couch

the

or

the
to

ceremonial

table.

or

adorned

on

or

this

in

the

at

pedestals,

these

the

and

sculpture,

dead

the

the

wife.

and

from
confined

are

from

religious

with

husband

developed
they

figure

development

of

group

reclining

inevitable

an

SCULPTURE

are

evolution

The

Chiusi.

the

to

groups"

"cinerary

by

vases

OF

which

artistic

no

and

woman

the

Louvre,
of
was

archaic
once

144

HISTORY

has

than

more

exhibit

the

without

natural

all

The
funeral

with

or

of

the

the

m"-thologicaI
doubt

their

are

that

the

his

work.

of

meaning

Stelae.

of

few

stelae,

with

no

of

the

fourth

century

B.C.,

show

drawings,

or

the

human

or

far

By

"

sculpture
and

of
the

the

the

pottery

properly
Etruscan

showing
be

be

artists
the

various
the

if

utensils
bronze

done

was

of

in
the

art

and
at

an

chariot

rude

in

the

^e

date,

and

stone.

of

the

it

cotta
terra-

Etruscan

finest

consistent

cannot

work

necessarj'
form

important
Museum

of

history,
would

worker,

bronze

Metropolitan

of

black

bronze
is

of

figures

early

of
A

nor

little

in

jewellery

on

some

of

in

ings
paint-

knew

urns

the

on

bronze.

impossible,

not

probably

and

designs

"

the

monuments

reliefs

but

Bologna,

designs,

sculpture

sarcophagi

the

sculpture

progress

Small

and

nero)

called

difficult,

purpose.

as

{Inuxhero

to

but

to

the

numerous

pressed

"

cany
Tus-

North

of

who

of

technique

the

similar

and

artisans

by

of

apparently,

originals,

most

are

for

stone

the

as

way

influence.

time,

Greek

imitated

were

form

Bronzes.
Etruscan

that

merely

from

neighborhood

that

with

Peloponnese,

the

belong,

about

or

out
(with-

notion

vague

foreign

the

These

numerous.

relief,

in

however,

Greek

demons

such

somewhat

from
of

the

gravestones,

style,

reliefs

utensils,

executed

in

upright

indication

Apennines,
are

of

clear

very

or

death

Etruscan

heroes

only

primitive

the

ing
misunderstand-

instances

had

or

archaic

certain

stelae

flat

heav"-,

other

though

designed

evident

no

deities

the

of

and

the

which

with

Some
well

are

with

in

clothing,

originals)

designer

"

exhibit
that

In
Greek

among

indicate

to

Greek

least,

at

meaning.

inserted

Etruscan

merit.

with

visible,

represented.

of

real

assodated

sarcophagi

on

imitation
or,

clearly

and

of

deceased,

Etruscans

accurately

comprehension,
of

the

scenes

in

people

connected

the

of

is

introduced,

are

of

art

devoid

are

scenes

life

previous

which

like

industrial

represent

examples

occasionally

and

the

which

objects,

taste.

on

Greek

demons

winged

of

unattractive

sarcophagi

them

among

influence

are

faults

reliefs

SCULPTURE

these

artistic

the

best

of

enough

inherent

Not

OF

for

our

of

parts

works,
In

such
New

ETRUSCAN

York,

made

were

fine

bronze

works

the

indeed
be

may

many

the
in

strong

time

no

bronze

large

pails

oriental

on

style

general

beginning

or

imitation

ceremonies.

date

from

style

often

to

of

Greek

of

the

the

Greek

of

and

the

bronze

objects

The

bronzes

curiae,

in
in

care

adorned

of

that

less

detail,

so

real

they
as

utensils,

and

of

skilful

that

intelligence

on

other

drawings.
their

work

Etruscan

Nevertheless,
of

are

handles

and

incised

and

similar

and

cases,

study

that

habits,

are

and

work,

sixth

bronzes

vessels

original
Greek

the
with

served

reliefs

itself.

contemporary

the

of

time,

mirror

were

Greece

lack

of

with

workers
to

even

exhibit

is evident
less

of

they

imitate

These

other

what
some-

costumes,

same

the

on

Etruscan

the

or

end

native

part

that

combine

statuettes

cisiae

bronze-

exported

of

Many

were

Etruscan

was

bronzes

the

the

to

later.

and

bronze

surfaces

to

numerous

century

executed.

ornaments

or

of

presentation

fourth

of

and

most

sight
shows

workmen

century,

The

the

well

native

partly,

reliefs

6rst

at

at

was

important

The

make

influence
it

sculpture,

examination

paintings

vase

fifth

and

and

less

Greeks.

of

part

realistic

and

in

the

was

jewellery

oriental

sixth

influence
the

in

played

but

and

century,

force

Bologna

at

in

art,

Etruria

in

seventh

such

sixth

among

impression,

attempts

are

but
the

sculpture
than

the

These

Greek

Ionic
found

Phoenician

tombs;
of

same

itself

shows

controlling

because

Phoenicians

among

In

Some

B.C.

time.

bronzes

and

end

the

positive

doubt,

no

archaic

this

in

found

to

work.

and

before

way

gave

the

century

the

contemporary

Carthaginian

Etruria,

furnishings

of

Greek

imported

centuries

belong

qualities
of

sixth

the

as

also

statuettes

exhibit

and

early

as

145

SCULPTURE

which

nature

show

they
the

also
of

part

the

artist.
Bronze

Statues.

Few

Etruscan

bronze

statues

"

though
included
their
the

of

thousands
conquests

Minerva
as

{Arringatore)

existed

many

over

and
Greek

the
the
works.

in

Florence

in ancient

them

among

times,
the
The

Etruscans.
Chimaera
The

(Fig.

from

Mars

85}

Wolf

Todi

without

are

the

they
of

Arezzo
of

are

booty

for

in

gained

the
are

and

served,
pre-

Romans

Capitol,
now

the
doubt

garded
re-

Orator

Etrus-

146

The

can.

HISTORY

with

Mars,

is somewhat
Aides

stands

with

all

stiff

Metelis,
raised

OF

in

its

SCULPTURE

realism
but

attitude,

for

right

his

in

his

hand,

the

is

name

and

costume

Orator
in

given

head

his

calmly
haughtily

audience.

evidently

feels

He
who

one

that

with

thrown

gazes

trifle

upon

inscription,

an

and

back,

piece.
master-

slightly

very

and

sion,
expres-

is

he

speaks

authority.

be

that

drapery

are

that

the

splendid

may

of

the

little

but

the

It

folds

the

does

stiff,
affect

not

of

quality

portrait.
Qualities

Yet

Sculpture.
is

Etruscan

there

in

sculpture

that

native?

The

really

first

how

"

much

is

Etruscan

of

toward

impulses

plastic
Asia

art

from

came

and

presently

Greek

became
In

so

to

the

the

sixth

tors
sculp-

ori^nal

were

in

fluence
in-

inant.
predom-

Etruscan

century,

and

Greece,
the

far

as

they

Greek

adopted

they

tj-pes
details

some

Etruscan

only
added

costume

of
sonal
per-

or

If

adornment.
their

only

work

by

may

almost
Etruscan

be

differs

its

of

reason

said

in

of

the

exclusively
sculpture

other
inferior
later

from

respects

throughout

Much

workmanship.

Etruscan

Greek,

Greek

as

sculpture.
also

are

is

technical

provincial

work,
the

it
same

Motives
methods.

development

are

is

ETRUSCAN

of

Greek

truth

interest

it

give

predominant

for
many

to

seem

years

have

their

acquired

It

refined

be,

well

and

less

which

perfect
in

importance

some

realism

which

Etruscan

influence

first

and

Home,

at

notions

therefore,

of

that

the

may

cans.

in

rugged

own.

an

was

of

sort

examples

some

Moreover,

its

of

in

however,

and

portraiture

of

exhibits,

It

sculpture.

147

SCULPTURE

it
was

finally

the

than

that

art

art

the

from

of

the

Greece,

of

merged.

of

the

art

Etrus-

Etruria,

less

factor
was

formation

Romans

of

imperial

Rome,

of

CHAPTER

IX

ROMAN

influence

the

is

have

may

to

sculpture
of

work
the

There
which

the

republic.

influenced
with

Hellenic

and

worked
that

works

time

went

with

Greek

Greek

Rome

at

of

sculpture

between

Greek

and

became

more

the

of

early

Greeks

and

fact

than

that
the

realists
Greek
Hellenistic

the
Greeks

and

the

and

It
were

that

Greeks

(Hellenistic)
sculptors

has
a

in

at

century

B.C.

Rome.
an

B.C.,

therefore

influenced

Greek

by

might

differences

been

had
often

of

many

But

we

Rom^

hav""een
of

realism

individual

as

people

practical
the

art

traits

reproduced

accepted

generally
strictly

more

matters

idealists.
art

century

Naturally

national

As

familiar

more

third

second

doubt

earlier.

Romans.

Art.

Romans

painters

numerous

"

adorned

hardly

still
and

strongly
or

According
Damophilus

can

the

culture.
be

contact

if Greek

we

were

the

as

racial

Roman

end

Hellenic

whatever

date,

were

would

strongly'^

which

and

imported

sculptors

as

was,
centre

sculpture,
exist

Greek

reliefs

Libera

of

years

seen,

artists,

the

B.C.

Roman

direct

date.

early

very

from

early

into

came

early

an

art

we

which

as

ha\'e

twoGreek

and

before

and

496

Romans

and

art,

Rome

Roman

such

at

the

statues

important

in

Greek

of
on

Indeed,

at

Lilier,

as

there

monuments

the

of

even

Rome

154),

painted
Ceres,

of

temple

or

was,

and

//m(.,xxxv,

extant

claimed

confidently

art

art,

sculpture
distinguished

no

Rome

and

be

however,

kings,

civilization

(A^a(.

Gorgasus,

the

the

Greek

by

Pliny

to

of

Etruscan

of

daj-s

Roman
to

way

are,

can

time

any

no

be

early

predominant,

was

that
in

the

"

Etruscans

was

work.

In

Empire.

suppose

existed

Etruscan
of

the

of

reason

every

the

before

Art

Roman

SCULPTURE

were

thnt

in

late

fact,

peculiari-

ROMAN

ties

ruthless

with

beautiful.

then,

the

of
Rome

seem

as

whose

those

among

Greeks

the

sculptors,
and

Rome

fact

for

Roman

But

remains

Hellenistic,

Art

the

In

and

Rome

until
the

was

Greek

in

the
of

centre

most

the

after

pitched

legions

outposts

of

Hellenic

The

rise

of

the

Pergamene

sculptors

of

the

third

and
Greek

rise

of

the

establishment

of

and

painters,
and

all

educated

in

Greek

the

problems.

new

it is Hellenistic

art

development,
in

justified
empire,

Die

Altmann,
p.

it

hardly

class

in

the

affects

mentioned

the
soon

are

that

the

strictly

of

fashion.

Even
above

tects,
archi-

to

Greeks,

but

art,
lead

to

new

therefore

are

of

parts

the
of

Mrs.

Roman

Strong,

crude

imaginee

the

representation

(cf

ff

196

wax

all

opportunities

eastern

the

rather

Roman.

statement
out

the
in

pp.

certain

of

general
went

interest

ure,
meas-

part

We

In

of

progress

which

decadence.
art.

tunities,
oppor-

new

offered

new

conditions

Greek

the

is Hellenistic

Rome

GrabaltAre,

influence

and

of

to

Asia,

obflerves

funerals

at

new

r"miachen

350).
show

monuments

under

it Roman

especially

Sculpture,

art

merely

not

calling

The

times.

above

most

traditions

ever
Wher-

greater

and

"

and

far

was

their

the

in

"

re-

established

B.C.

Augustus,
for

sculptors

the

art.

offered

power,

by

empire

Hellenistic

in

affected

Roman

great

the

existed

but

at

to

centuries

So,

time.

practised

they

had

undoubtedly
that

at

second

the

civilization

camps,

it

as

of

race

of

regard

kingdom

and

thereby

sculpture
the

culture

of

proportion

Constantinople

But

their

that

was

of

with

especially

respects,

Roman

foundation

civUization.

possible

years

"

public

their

taste.

last

the

as

as

Roman

by

worked

far

the

republic,

all, modified

at

is

to

ture
sculp-

who

so

sculpture,

the

and,

Roman

whatever

that
under

Romans

little, if

sculpture

less.

been

have

may

impossible

it

recorded

not

are

is

and

but

is,

Greek,

Greeks,

nationality;

names

realism

sculptors

been

have

to

their

The

made

than
it

sculpture

republic.^

rule

indicate

names

the

of

rather

from

have

to

Mere

knowledge,

our

far

were

said

models.

Hellenistic

time

is

is Roman,

of

between

they

Lysippus

human

work

state

present

distinguish

at

that

when

even

of

his

from

proof

no

the

in

brother

directly

casts

fidelity,

The

149

SCULPTURE

portraits

which
if

moreover,

this

on

the

Romans

view

})e

portraits

grave
hibited
ex-

correct,
of

thQ

150

the

human

fonn

developed

the
in

remarkable

of

Many
of

copies
of

the

not

made

statues

Greek

masters

of

mentioned

works,

the

be

because

or

for

or

preserved
the

Several

Roman

that
under

of

They

for

Greek

and

much

but

do

they

and

reliefs

Reliefs

work

erected

Neptune
three

On

and

sides

relief

is

well

though

"

B.

of

were

Tritons

formerly
a

very

and

his

school

under

the
torical
his-

or

in

xxxv.

Nereids

by
to

in

Dotnitiua

Bays

Scopas.

Partly

with

Scopas.
See

Mrs.

Lquvre,

page

whose
111.

Poseidon
The

real

of

life

dedicsMd

in
in

this

they

reason
cao

logical
mytho-

is not

Roman
rest

good,

is

execution

the

work

of

sacrifice.

Strong,

for

reliefs

temple

of

combination

IT. ;
the

marriage

of

of

the

Ahenobarbus.'

the

scenes

35

pp.

26.

connection.

The

with

of

Roman

general

earliest

the

series

the

Domitius

6ne.

sacrifice

and

is

the

fourth

scenes

Hut.,

attributed

diatanl

style

official

Perhaps

front

by

represent

Intetmeiii.
o(

famous

Greek

sculpture
the

less

or

of

and

in

"

in

b.c.

the

on

acene

Nat.

Pliny.

group

ooly

reliefs

allegorical

Ths

altar

35-32

modelled,

FuTtwftngler,
33

pp,

of

sculpture

remarkably

not

or

Roman

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154

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87).

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155

SCITLPTURE

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156

HISTORY

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with

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work

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New

Museum,

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A.

in

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the

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XIX,

Archat"ito(ni.

121-i2K.

pp.
The

and

M.

reliefs

chiefly

"

"

statue
a

technique

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See

d,c.

period

monuments

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portrait

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century

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art

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The

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ia
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the

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clude
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and

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than

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Flavian

Flavian

157

SCULPTURE

are

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the

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reliefs

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balustrades
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and

158

The

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159

SCULPTURE.

larger

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159

SCULPTURE.

ROMAN

of
a

larger

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examples
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158

The

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SCULPTURE

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159

SCULPTURE.

ROMAN

larger

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SCULPTURE

Sarcophagi,

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the

produce

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A.D.)

(117-138

to

HISTORY

254-267,

field
great

antiken

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publication

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Sarkophagreliefs^

reference

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discusses

to

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Christian
Vol.

II,

Hadrianic

Imperial
Carl

sarcophagi,
pp.

165-225;

sarcophagi

162

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SCULPTURE

OF

of

period

in

HISTORY

Capitoline
attitude
the

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of

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come

antiquity.
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163

SCULPTURE

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very

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tba

164

HISTORY

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Good

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with

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were

SCULPTURE

OF

rudely

executed.
Portraits,

The

portraits

half

statues

"

busts

part

or

composed,

are

with

little

forward,

regard

the

the

and
and

Egyptian
clear,

hair

qualities.

This

merit,

some

but

is

stantine

of

earlier

least

at

been
but

date.^

Much

figures

evidently

supposed
Each

by

This

Archaeology,
Vol.

XIX,

view

deep

is
Vol.

J915,

pp.

is

1-12

and

that

chief
the

The

marked

pp.

A.

L.

368-386;

367-384.

is hard

and

detail,

and

similar
without

are

characteristic

traits,
por-

The

entire

Vol.

is

the

as

are

persons

from
it

were,

of

the
rounded
sur-

light

Journal

American

1913,

that

carved

so

by

are

alternation

XVII.

sally
univer-

which

distances

Frothingham,

is of

structure

reliefs

Con-

monument

adornment

off, and,

art

of

arch

existing

although

regular

Roman

century

are

different

at

The

by
1912,

the

plane,
be

in

case

exhibit

works

West.

times.

shadow.

advocated

the

Constantinian

figure

XVI,

fourth

sculptural

its

straight

deteriorating.

the

as

one

to

the

evidently

be

as

in

statues

little

they

century,

the

is

contour

existing

is

the

looking

as

with

and

may

earlier

all

are

spectator.

Italy

is set

The

that

In

"

regarded

face

of

most

and

waist,

part

wrought

art

of

to

The

are

that

it

early

mean

regarded

period,

critics

the

The

them

in

attributed
most

are

CerUury,

the

statues.

not

it is clear

has

this

of

Greek

does

the

to

the

for

are

stiffly upright,

is

lifeless.

Fourth

dying,

body

eyebrows

is

for

after

variety.

early

and

drapery

The

for

period

reaching

least

at

this

of

pp.

487-503;

of

ROMAN

dark

and
in

produces

flat

decline

of

and

art

pose

them

among

of

those

which

art

in

is

but

the

the

which

essay

of

and

light,

space,

became
the

was,

least,

art

even

strongly

in

the
of

in

In

chief

the

only
and

and

of

seat

the

fourth

influenced

for

by

fourth

the

in

most

the

and

exclusively

Byzantine

still

c-entury

Empire,

was

West,

part
art.

were

official

it

though

almost

Europe

in

lenistic
Hel-

subjects,

methods

new

third

the

directly

of

new

even

resemble

more

offered

composition

shade.

be

most

period.

development

not

declined,

methods

new

closely

subjects

the

this

art.

is

Empire

In

Rome.

the

of

to

Syrian

those

works.

sculpture

of

art

other

in

by

applied

were

also

of

among

seem

Roman

of

treatment

and

influenced

France

others

Roman

account

subjects,

artists

certainly

southern

called

of

sculpture

influenced

century,

on

pagan

are

but

fourth

undoubtedly

Roman

in

Rome,

the

the

were

so

of

strongly

more

developed

at

the

effect

possess

interesting

are

artists

foimd
in

art,

and

in

executed,

examples

selection

sarcophagi

found

The

time

which

but

examples

those

to

coarsely

in

their

Syria,

Christian

Some

the

painting

the

producing

better

were

important

but

of
Even

are

numerous

some

The
of

art

The

and

period
the

are

are

beauty.
the

and

rigid,

in

this

but

icont^raphy,

their

by

of

that

intentional.

succeeded

sarcophagi

their

of

like

dignity.

Christian
and

artists

is

somewhat

evidently

Portraits

their

certain

is

the

desired.

they

effect

an

which

colors,

165

SCULPTURE

reliefs,
centuries
continued
treatment
tinople
Constan-

from

that

Christian

Byzantine

or,

CHAPTER

BYZANTINE

Oriental
the

Influence

before

in

seen

also

the

Roman

itself.

Empire
the

of

days
the

the

Africa

Carthaginian
after

however,

Greek

The

Greeks

conquests

more

inferior

almost

and
and

were

much

the

found

in

of

in

number

in

the
in

the

qualities
but

in

the

old

inhabitants

the

cities,

cities,

days
seen

Syria,
1G6

Roman

in

works

the

Asia,

their

of

own.

Macedonian

the

native

tion
populaThe

try
coun-

who

inhabitants,
time

went

constantly

interior

works

that

true

the
of

of

instance,

for

exhibit

greatness
of

the

on,

themselves

exerted

Ephesus,

of

of

peoples

cities.

and

at

days

and

made

is

It

in

with

former
As

and

Roman

Egypt

the

except

and

the

to

rulers.

coast

the

in

of

in

by

art

Greek

train

art.

upon

carved

Italy;

the

even

influence

same

in

their

felt,

found

sculpture

the

occupied

traditions

more

in

before
Greek

no

contact

on,

Roman

even

civilization

exclusively

changed

merely

increasing

which

far

ever^'^where

tastes

possessed

followed

settled

was

had

centuries

the

Romans,

In
in

the

went

measure

existed
to

came

under

Italy,

and

conquest.

civilization

were

and

Roman

who

Greeks
had

was

of

great

we

carried

time

virtually

succumbed

the

for

in

was

which

art

greatness

influence

had

there

by

it

decay
of

art,
As

developed

art

was

Greek

Asia.

as

the

century

it

western

the

seen,

Empire,

Phoenician

with

it

with

introduced

fourth

the

modifications

have

we

After

Asia.

sculpture,

where

decay

Roman

was

the

which

West,

provinces

which

part

Roman

on

into

As

western

that

of

undergoing

falling

finally

large

the

Empire,

and

and

chapter

and

Italy

to

in

Great,

civilization,
and

in

Art

"

the

Greek

Egypt

over

Hellenistic

upon

Alexander

Christ,

spread

in

of

conquests

have

SCULPTURE

same

Asia

date

Minor,

and

Mesopotamia,
early,

least,

at

native

also

extended
The

the

followed

by

sculpture

which

effects

their

value

in

general,

was

depended

for

the

chief

the

human

beasts,

and

the

is
tic

out

shadow

color

effects
of

some

result
in

later

Christ,

still

carving

the

effect

was

East,
new

325
and

city

in

of
of

made
a.d.,
eastern

the
the

black

influence
ever

of

to

survived

more

been

of the

in

the

made,
than

in

Sidamara

century

after

statues

the

produces

while
almost

white.

and

soon

in

seen

Praxiteles,

arches

effect
coloris-

be

from

of

carved

show

continued

art

figure

plane,

have

we

third

the

background

well-designed

the

in

one

probably

the

the

power

in

similar

relief,

nople
Constanti-

When

Constantinople.

centre

it had

and

so

As

The

That

from

scrolls,

less

away.

which

of

capital

new

cut

figure

graceful,

in
in

dark

dates

its

painting

the

sarcophagus

capitals

Infltience

than

The

influence

the

against

traditions

which

powerful

the

Asiatic

shows

all

Statues

Greek

138),

page

and

after

old

and

and

works,

sculpture.

(Fig. 84,

in

influence.

the

less

sculpture.

even

Roman

eastern

them

of

than

value.

sculpture

scrollwork

been

but

designs.

flat

had

stone

sought

were

decorative

direct

the

rather

the

of

and

light pattern

more

always

was

preferred

became
into

western

color

artists

decorative

were

of

raised,

harmonious

in

develop

tion
decora-

their

taste

for

upon

consisted

upon

Greek

the

Empire

to

than

sometimes

Asiatic

portions

where

of

one

as

of

Roman

but

of

relied

buildings

chiefly

effect

arranged

tended

the

were

influence

projecting

standing

which

whereas

the

of

parts

of

which

rather

carved,

interest

Asiatic

of

sculpture

their

forms

plant

result

eastern

tiles

form,

and

and

were

works

architectural

The

sometimes

colored

but

forms

patterns.

Greeks

with

sure,

sculptured

colored

of

be

but

sculpture.

to

the

this

as

This

architecture,

decorated
to

felt

Christ.

them

in

(and

colored,
their

in

among

were

buildings,

Moreover,

of

Greece

Persian

which

that

of

were

as

and

itself

after

strong

arts

Romans)

upqn

frequently

the

other

of
Asia

in

the

makes

art

century

especially

buildings

great

their

is
to

second

the

influence

native

the

Egypt,

as

167

SCULPTURE

BYZANTINE

"

Empire,

Roman

was

moved

became

far

Rome.

To

nearer

stronger
be

shortly
to

the

in

the

su.te^'^^xe^

168

HISTORY

the

and

city

various
of

East

little, if

in

the

had

greatly

never

at

artists
own

of

and

way,

such

already

flourished.

became

in

much

that

was

has

been

what

hardly

In

architecture

remarkable

of

mosaics

church

Christian

with

expressed

the

minor

also

arts

metal

scale

the

"

work

Byzantine

of
claim

the

also

in

the

enamel

artisans

wide.
in

ings
buildand

paintings

and

the

history

Christian

of

faith

magnificence.

the
is

broidery,
em-

of

carving
on

small

and

whatever

their

the

Byzantine
the

In

weaving,

excelled,

But

in

work-

carvings

carving

general,

Byzantine

These

work,

and

position

prominent

of

the

and
art

which

which

artists
far

in

tained
re-

ture
sculp-

created

with

solemn

always

of

painting,

jeweller^',

art
soon

that

decorative

and

tic
artis-

Greek.

evident

beauty.

miniature

"

Byzantine
a

and

his

native

was

builders

glory

gorgeous

the

it

branch

brilliant,

and

materials

exported

was

cannot

work,

other

and

ivory

and

stately

once

in
removal

where

that
be

but

marbles,

where

Constantinople

more

with

could

the

strengthen

may,

Byzantine

only

not

of

city, though

stability,

Rome

each

result
to

long.

place

worked

important

most

colored

of
at

were

the
the

adorned

incrustation

the

be

last

at

it should

said,

capital.

from

best

be

to

Italian

but

and

Roman

dignity,

were

it

as

time

not,

Antioch,

as

oriental

an

could
art.

this

Be

for

from

influence

Constantinople

first

cities

great

the

and

and

at

brought

did

probable

was

that

capital,

new

emanated

came

the

measure

art,

regions

government
of

influence

of

so

and

East,

centre

art

in the

which

the

therefore

of

seat

After

affected
a

been

not,

influence

different

from

the

could

of

seemed

it had

than

artistic

become

once

elsewhere,
have

the

to

works

well

may

condition

Probably

not

and

all, greater

such

But

art

coml

with

Greece

upon

at

the

adorned

was

places

the

followed

Romans

prominent

SCULPTURE

OF

portance
im-

sculpture

historj'

of

human

progress.

Periods
of
the

of Byzantine

Byzantine
foundation

art

of

may

The

rt.

III, from

Period,

First

The

history

"

be

divided

into

Constantinople

disturbances

(726-842)

(330-726)
the

to
;

accession

four

the

II,
of

periods

outbreak

the
Basil

of the

iconoclastic
I to

the

I, from
clastic
icono-

period
sack

of

170

exarch

or

of
with

but

is

to

exhibit

The
the

the

of

the

than

Sainna.

church

of

from

Syrian,

the

in

chiefly

sarcophagi

of

in

composition

as

common

became

the
in

the

Rome
seat

of

and
of

in

some

continued

empire.

or

in

They

were

in

technical

design

and
Such

tablet

favor

reliefs

period

measure.

diptichg,

any

of

representing

perhaps

eastern,
are

as

of

at

Savenna.

same

well

sarcophagi

The

are

the

give

"

Rome,

They

elements

survive
form

in

in

century.

ancient

the

execution
in

fifth

and

fewer

art.

Testaments

the

ability

the

New

to

ivorj' carvings
care

and

of

well

Byzantine

Beliefs.

Sabina,

work

superior
great

Old

Ivory
S.

Sarcoph"giu

"

scenes

Syrian

are

these

of

art

the
rated
deco-

sometimes

grow

strictly
of

influence

S.

of

Doors

doors

The

(Fig. 95).

them

story,

figures

show

to

serve

among

Bible
the

on

rather

Syrian,

they

rate

earlier

from

goes

symbols

mere

probably

sarcophagi

The

scenes

time

as

SCULPTURE

Italy,

sculpture.
figures,

designed,

OF

of

governor

condition

place

HISTORY

after

given

cases,

all

respects

and

show

skill.
the

In

ancient

car\'ings,
had

been

Constantinople
away

as

birth-

BYZANTINE

day

gifts,
or

the

congratulatory

as

other

on

used

later

of

and

articles

the

reliefs

throne

dating

represent

St.

were

also

used

in

were

caskets

ivor"'
The

numerous.

is

Maximian,
the

from

probably

the

on

of

suls,
con-

diptichs

carved

were

called

ivory

Such

plaques

furniture,

toilet

and

Ravenna,

which

Ivory

made

newly

to

occasions.

book-covers.

as

jewellery

with

offerings

appropriate

ornamentation

for
at

or

171

SCULPTURE

chair
adorned

sixth

century,

front
_

the

John

apostles,

^e

the

back

and

fine

than

The

of
the

are

drapery

The

is

is

perfectly

the

ural,
nat-

with

is

graceful

These

liefs
re-

of

probably
ori^

Egj'ptian

Syrian
second

by

represented
in

book-cover

ivorj'

been
The

or

large

no

when

of

and

mythological

the

to

design,
the

be
and
first

other

groups

origin.
There

Ivories.

Periods.

"

in

wood

ivory
and

executed.

In

They

numerous.

subject,

though

religious.

the

images

some

third

vary
most

The

of

imder

greatly
of
number

the

the
secular

more

them

period

second

were

exhibit

carvings

the

of

stone

or

and

paintings
The

period,

but

Syrian,

several

eastern

Fourth

subjects,

in

of

sculpture

church.

and

deigned

and

religious

ban

and

style;

be

to

appears

all

Third,

little

period,

in

distinguished,

Second,

an

Ravenna,

different

somewhat

have

good.

vines,

decorative.

group,

the

is

beasts,

are

the

and

effect
of

and

and

and

large,

not

96).

somewhat

heads

border

birds

(Fig.

rather

but

less

being

composition

eyes

from

others

the

varies,

scenes

Joseph

crowded,

in

reliefs

with

panels
life

The

scenes.

these

of

the

is

four

biblical

quality

is

and

on

sides

or

Baptist

are

the
in

beautifully
ivories

subjects
of

tinue
con-

in

execution,

fi^\M"i

are,

'tol

as

'^t

172

HISTORY

is

scenes

figures

in

represented
In

the

fourth

of

door

there

period

the

church

(now

truth

IVork,

metal

In

etc.

of

head

ivory

The

carving.

of

of

work

the

to

as

Byzantine

was

rising
and,

the
which

western

they

and

to

on

only

colored

case

tine,
serpen-

but

most

possessing
and

ivories
much

enamels

and

tic
Hellenis-

ivor"-,

few

turn

the

of

steatite,

in

the

any

steatite

the

of

and

extended

painting

in

or,

in

and

in

works

those

gilded,

with

and

carvings,

in

and

plunder,

churches

The

measure

paintings

great

carvings

art.

as

These

by

of

the

of

metal
The

stones.

the

to

coloring

as

design.

numbers

great

of

quality,
of

miniature

the

resemble

colored

of

of

The

under
that

to

great

books.

in

were

works

enriched

was

beauty

comes

parallel

in

inspired

art.

inferior

as

were

influence

of

it
as

derived

walls

materials

of

are

carvings

well

Greek

interest

great

the

subjects,

similar

them

Kahrie

metal-workers,

been

influence

adorned

classical
and

the

mythological
or

art

instance,

degree

is

the

contained

under
which

of

have

to

miniatures

made

mosaics

rich

the

called

so

development

designs

seem

the

were

the

sculpture,

ivory-carvers,
from

for

far

work,

"

the

of

life.

to

Metal

with

revival

slight

no

single

often

mosque)

attains

Constantinople,

at

and

instances

sculpture,

over

Djami,

other

was

decorative

some

the

in

attitudes,

dignified

and

painting,

SCULPTURE

considerable,

sometimes

are

draper;'.
of

OF

the

in
a

western

the

Middle

ruins

of

measure,

nations.

undeniably

works

in

Europe

by

Ages,
the

lioman

metal,

when

for

the

in

and

gifts,

as

served

tives
incenas

earliest

artists

as

Therein,
possess,

even

lies

more

their

as

civilization

new

Empire,

models

carried

were

trade,

than
chief

in

the

beauty

importance.

of

CHAPTER

MEDIAEVAL

The

Roman

and

the

and

Denmark,

of

and

all

but

and

brought

they

decorations

and

curves

geometrical

patterns,

of

forms

fantastic

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of

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influence.

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early

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little

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Europe

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before

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of

than

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part

ancient

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the
to

the

in

173

this

other

spread

that

oriental,

Europe,
prevalent,
northern

over

the
the

eastern

art

and

the

possesses

"

continued

Empire
There

of

tions
Condi-

Century.
Italy

the

on

western

Byzantine

civilization.

of

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and

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strengthened

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surprising

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themselves

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goldsmith's

weapons,

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the

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the

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to

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sculpture,

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barbarians

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end

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fierce

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art

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the

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name.

deteriorating,
The

of

finally

of

and

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race,

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part

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part

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included

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"

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But
of

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of

regions

ITALY

SCULPTURE.

Invasions

the

XI

artiste

for
and

to

(toKCL

174

continued

East

the

learned
confined

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Maria

in

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eleventh

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begins

countries
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period

therefore

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sculpture
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eleventh

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begins.

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and

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in

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line

of

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speak

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countries

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life

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was

of

church

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wall

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SCULPTURE

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to

Valle

OF

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to

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HISTORY

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a.d.,

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though

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classic
in

in

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the

mosaic

is natural
the

Italy

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less

in

to

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century

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only

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altar

and

though

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of

the

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in

work
cathedral

in

regions.

of

northern

in

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alniost

ivory

as

Venice

sculpture

in

entirely

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and

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thirteenth

of

bright

character,

relations

statues

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fluence
in-

French

with
to

of

sculptors

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the

tine
Byzan-

remains

mediaeval

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character,

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the

as

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and

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jects
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work

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to

of

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ivory,

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of

part

in

choice

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art

works

twelfth

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or

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carvings,

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begaa

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by

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renaissance,

under

in

executed

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of

century

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or

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eleventh

equally

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technique

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form
;

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sarily
neces-

art.

plastic

in

places

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in

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Christian

to

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express

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times

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progress

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sculptor

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at

therefore

centuries

four

divided

of
is

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same.

the

rapid

form

is the

the

that

equally

175

ITALY

SCULPTURE.

MEDIAEVAL

century.
the

Salerno.

eleventh
TVis.

Sa*

176

adorned

with

and

New

in

are

SCULPTURE

OF

of

plates

ivory

Testaments

followed,

are

HISTORY

somewhat

from

scenes

represented.

are

though

which

on

the
models

Byzantine
and

freely,

Old

the

inscriptions

Latin.

Bronze

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The

of

sculptures

and

gold

silver

created

"

in

the

eleventh

have

century

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disappeared,

interesting

an

series

of

doors

bronze

still

ists.
ex-

The

est
earli-

of
which

these,
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the

from

eleventh

century,

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purely
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brought

were

from

nople
Constantiand

are

adorned

with

and

engraved
damascened

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res
,

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Trani

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all

(1076).

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1070).
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doors

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soiithern

hb

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his

and

models

work,

goldsmith's
S.

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which

for

Trani

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reliefs,

of

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ia

and
doors

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with

1185)

and

damascening

1170),

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reliefs

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of

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were

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sanUS

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(S(.

Rome

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Verona,
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(1087).
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in

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178

portal

of

at

Bari.

to

such

St.

HISTORY

Nicholas

In

OF

and

Sicily

SCUIJTURE

limited

sculpture,

decorative

of

window

work

the

the

cathedral

under

the

Mohammedan

as

freed

was

from

limitations

by

The

of

the

on

in

and

(Fig.
from

various

for

the

from

most

has

biblical

but

part,

Italy,

and

their

of

in

southern

Italy,

of

andent

feeling

the

influence

Roman

works

of

of

Sta.

with

at

of

also

possibly

Restituta

sculpture,
Rome,

oriental

but
influence

the

reliefs
at

Naples.
appears

is

spread
evident.

other

works

still

of

Peregrino,

In

the

the

This
was

artist
1224

and

1259)

SessaAurunca,

at

the

chiefly

and
ambones
of

southern

other

through

in

before

after

in

study

evident

combination

chiefly

plemented
sup-

by

more

decorated

once

cernible.
dis-

influence,

(begun

finished

is

art

is

ambo

and

which

which
which

the

and

elsewhere

as

apparently

the

were

least,

Here,

nature,

csme

at

technique.

of

scenes

artists

unity

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are

monsters

places,

southern

work

of

The

98).

them

sorts

of

series

and

marvellous

on

all

represented

forma

carving
are

variety

ported
sup-

varied

rich

mosaics,

their

in

capitals

of

with

brilliant

tures
sculp-

Monreale,

shafts

adorned

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the

The
of

the

at

resembles

cloister

are

but

work,

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the

Palermo

cathedral

(1185)

the

and
of

at

native

of

mits,
per-

candelabrum

probably

reale

religion
conquest.

Falatma

portal

rule

sarcophagi

paschal

Capella

Saracen

Norman

the

porphyry

the

(1190)

mosaic

Italy

parts
the

of

and

Italy,

result

ot

SCULPTURE.

MEDIAEVAL

of

centuries

the

French

of

school
the

by
and

Bitonto

with

Ruvo,
but

oriental

resemblance

distant

in

its

the

and

tentative

Italy
small

confined

virtually

was

vine

to

in

the
of

at

archivolts

really

nificent
mag-

the
in

sculpture

is still

Apulia

the

scroll

less

teenth
thir-

southern
and

ornaments

figures.
under

Art

Frederick

11.

Frederick

1250),
and

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The
was

and

arch

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adorned,

like

statues,

in

the

of

Frederick

II,
of

garland
artists

of
of

derived

artists

panians

or

beginning

to

of

the

Frederick
female

school
II

head

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seen

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of

where
time.

sculpture
in

surmounts

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into

pulpit

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Who
Cam-

they

round

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being

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Castel

at

somewhat

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the

probably

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statues.

the

two

with

in

in

bust

of

Capua.

surmise

may

similar

dignified,

of

now

figure

crowned

were

sculpture

shows

Andria,

we

are

seated

works

they

indeed

and

reliefs

busts

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but

this

at

city

in

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with

head,

ancient

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Rome,

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art,

Roman

at

trimnph,

impressive

from

ancient

headless,

the

(1212-

ancient

preserved

female

of

built

them

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appear
near

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personifies

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from

of

arch

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be

to

have

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works

imitated

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Monte,

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inspiration

were

of

caused

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dignified

brought

were

employed

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their

he
he

now

the

these

collector

Capua.

at

counsellors

the

of

some

musemn

and

whom

sculptors

work.
1240

admirer

an

however

II,

"

del

scenes,

portal

Throughout

and

cenic
Sara-

or

the

in

to

upon

Trani

and

seen

subordinate

influence

of

biblical

figures

style.

Barletta

at

manner,

is

through

or

Byzantine

figure sculpture

oriental

French

century

tury
cen-

probably

portals

with

angel

quite

in

decoration

of

work

religious

clmnsy,

The

barbarous

small

of

Galena

established

monsters

French

to
row

general

twelfth

sculpture,
of

mixture

somewhat

Apulian

Sepulchre.

curious

and
in

been

conquest.

the

of

abbey

Holy

exhibit

executed

have

may

Saracen

end

architecture

the

scrollwork
all

Benedictine

Burgundian
of

in

appears

the

canons

the

179

"

influence

through

the

by

Italy
Toward

Infliience,

French
either

southern

in

strengthened

but

rule,

Byzantine

"

ITALY

vival
sur-

under

heavy,
(1272).

180

HISTORY

The

Abruzzi.

SCULPTURE

OF

In

the

Abruzzi

in

in

wood,

soft

produced

were

as

in

be

end

but

the

entirely

of

in

such

the

work

carvings

and

stucco,

century,
the

near

almost

with

twelfth

the

until

appears
to

seems

covered

stone

decorative

some

"

limestone

figure

thirteenth

of

French

ture
sculp-

century
Lombard

or

sculptors.
At

Rome.

Rome

the

love

of

which

mosaic,
rule,
Church

facades

the
of

ferrata,
work

by

Paulinus,
late

the

Saviour,

and

S.

Roman

Paul's

imitate

of

of

that

that

Vassalletto),

the

for

to

the

and

the

beside
which

cloister
Families

of

Artists

Bassalettus,
from

about

or

of

at

1220
Roms.

at

Vassalletto,
1150

to

the

the

about

Rome
and
The

of

and

1260.

of

plant

combined

the

delicate
appear
passage

The

Empire.
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Hadrian.

ments
monu-

This

1230.

CosmaiL

The
"

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resemblance

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under

it

as

architect

are

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to

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sides

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rude

carving,

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spirited

the

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imitations

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de

spandrels,

period

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of

manner

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and

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lions

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of

two

last

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fill the

cloister

of

works

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Adalbert

of

was

rich

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with

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son,

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of

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tine
Byzanat

iconography

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cornices,

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sarcophagi.

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more

architecture.

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of

at

which

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with

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at

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of

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scenes

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the

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carved

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carved

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with

font

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sculpture.

example

and

martyred

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century.

Petrus

the

rude

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of

carved

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sarcophagi.

outside

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is

the

of

sculpture

artisan,

of

all' Isola,
of

and

churches.

local

time

decorated

marble,

century,

some

Bartolommeo

figures

of

the

of

especially

development

mosaics,

eleventh

the

the
of

were

brilliant

and

from

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hindered

furnishings

scrollwork

from

heritage

have

to

seems

also

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and

color,

"

through
Other

three

family

family
tions,
genera-

schools

SCULPTURE.

MEDIAEVAL

at

Rome

(about

of

Cosmatus

(about

The

but

mosaic,

that

him

work

work."

the

of

the

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was

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invention
the

over

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belong

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and

simple

against

of

statues

it

it

pears
ap-

is doubtless
influence.

these

in

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which

canopy

in

with

date

of

them,
A

twelfth

of
are

kneeling
set

were

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that

show

to

are

folds

work,

mosaic.

the

in

Rome

the

statue

with

exist

also

Lateran,

ancient

group

size,

proportions
and

similar

life

John

St.

wrought,

and

about

Their

imitate

formed

later

of
of

facade

decorated

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unknown

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tomb

Paul,

well

are

have

background

of

century.

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may

the

evidently

natural.

which

Pope,

details

which

drapery,

of

twelfth

the

the

and

Peter

front

in

to

but

clumsy,
the

Sts.

stood

once

of

type

when

their

to

achievement

of

"Cosmati

Italy

is due

or

from

probably

sarcophagus.
of

statues

which

artists

Giovanni

but

northern

bright
concern.

name

Rome,

to

and

notable

most

the

bined
com-

and

chief

it is

Cos-

these

apparently

received

central

and

of

their

and

confined

Ranucius

carving

was

1300,

kind

Roman

All

not

artists

about

is not

in

work

1160-1231),

was

these

this

work

elsewhere

artists

of

of

Such

(about

decorative

with

flourished

who

Cosmati,

1100-1200),

sculpture

productive

most

(about

1276-1332).

forms

architectural
colored

Paulus

Laurentius

1135-1209),
or

mas,

those

were

181

ITALY

similar

statuary
thirteenth

and

centuries.

Early

Sculpture,

Tuscan
before

appears

reliefs

the

on

the

and

Giovanni

fuor

lifeless

drapery,
equally

signed

are

poli,
Santo
are

church

in

dated

by

Pisa,

crude

and

are

in

The

and

the

which

last

lifeless.

the

on

of

the

work

and

is

by

half

Lombard

on

of

of

the

the

the

thirteenth
which

thirteenth

sculptors.

San
with
At

Salvatore

pulpit
in

reliefs
of

at

by

folds.

San

Buonamicus

better

first

circular

portals

work

The

of

the

signed

monotonous,

are

by

The

those

and

1167,

hardly

certtury.

Pistoia,

at

carvings

relief

sculpture

twelfth

Andrea

divided

reliefs

Biduino.

the

Gruamons

by

crude

Tuscany

of

1166

regularly

furnishings

Tuscany

Sant'

of

Civitas

1194,

at

half

Rudolfino

Gruamons

Lucca

second

lintels

In

"

the

at

GropCampo

centur"',
decorate

century

182

Only
work

Pisa

at

real

of
of

portal
ancient,

life of

the

Virgin,

doors

and
of

by
the

carved

acanthus

and
The

the

the

like

desire

end

the

figures
the

rude

with

rest

Testament
reliefs

of

representing

or

The

Modena,

was

later
and

are

flat, the

Wiligelmus
but

is

signed

of

fa9ade

figures heavy

somewhat

doors,

biblical

story,

by

worked

at

later

Verona
in

date.

S.

Its

Zeno

is

not

The

turies
cen-

columns

the

and

covered

are

of

lives

the

The

dral
cathe-

naturally

(Guglielmo,
of

reliefs

the
at

coarse

Piacenza,

porch,

Wiligelmus

ill

and

and

legend.

signed

Wiligelmus
the

who
is

the

1099.

Anselmo

archivolts

the

of mediaeval
in

date,

on

of

figures

thirteenth

porches,

beside

scenes

The

Parma,

lions, while

founded

another

scenes

with

walls

Verona,

at

even,

somewhat

William),

the

as

Modena

at

of

well

decorated

human

few

by

and

Modena,

at

work
scroll-

of

rude

New
These

Verona.

The

proportioned.^
identical
two

works

the

at

arose

Milan

twelfth

way,

northern

and

but

works

art.

ivories.
at

the

of

ancient

The

interesting,

churches

backs

of

monsters.

Romana

In

be

to

different

in

combination

itself.

few

which

Carolingian

Porta

are

the

on

as

saints,

of

Verona

reliefs

of

historically

portals

tympana,

and

execution.

and

which

beasts

the

are

the

Ferrara,

of

and

exhibits

is evident,

are

these

Lombardy

sculpture

century
of

beauty

In

"

decorative

imitations

reliefs

design

of

the

forms

(1167-1171)
in

Sculpture.

eleventh

are

again

The

portal

Lucca

in

though

the

outlines

appear.

at

which

Pisa,

style.
richly

the

the

of

cathedral

school,

life

to

the

of

Roman

Lombard

with

in

the

generally
of

school

bring

to

Early
Italy

the

of

in

sarcophagi

that

in

bronze

with

nymphs

as

the

foliage

Roman

delicate

Hell,

carved

that

covered
the

in

Redeemer,

Byzantine

columns,

ancient

as

into

delicately
us

chief

the

draped

the

of

all

half-nude

on

is

Descent

group

among

of

columns

to

exhibits,

of

work

the

strongly

and

and

reliefs

sculptured

attributed

tunics

Apostles,

produce

of

lintels

reminding

were

period

the

Baptist,

great

scrolls,

in
of

Pisa

two

are

and

ivories,

of

door

imitation

the

Byzantine

Beside

of

Baptist,

this

and
of

scenes

John

St.

of

jambs

figures

are

the

Bonannus

women

the

also

and

SCULPTURE

sculptors

On

John

St.

imitation

Tuscan

baptistery

fashion,

the

of

did

merit.

the

OF

HISTORY

with

Wiligelmus

differ

in

style.

MEDIAEVAL

Genesis

from

scenes

Nicholaus
of

Verona,

His

reliefs
than

figures

better,

belong

clearly

choice

of

the

the

of

of

Montferrat,
the

called

panel,

which

on

and

the

the

the

had

the

John

of

in

is

clearly

the

shows

and

Italian

both

Porter,

are

clumsy

American

there

of

Christ.

The

system
of

French

and

of

artist

was

the

Archaeology,

smith's
gold-

or

ing
nothof

given

This

figures

somewhat

XIX,

the

1916,

is

entirely
on

and

of

one

with

reliefs,

adapted

copied.
spirit.

same

pp.

is
St.

by

composition,

merely

is

decoration

being

it

the

acquainted

is shared

but

not

and

architect,

of

date

churches,

exhibit

both

the

other

some

slender

was

corresponding

architecture,

Journal

of

in

seen

decoration

which

The

The

sculptors.

the

Virgin,

exists,

is, however,

and

one

remains,

carving

scheme

architects

of

the

the

dral
cathe-

scrollwork

are

ivory

The

that

is

figures

unified

the

arrangement

purely

as

Benedetto

portals,

1196.

of

model

which

French

glory

that

and

the

such

composition.

and

the

to

its balanced

K.

the

Baptist

portals

though

as

consistent

the

devoted

A.

served

the

represented.
delicate

if

as

called

Nicodemus,

is

in

sculptor

little

with

The

artificial,

Parma,

by

trait,

Apulia.

but

in

especially

the

in

monumental,

seen

oriental

an

for

very

Cross

is covered

panel

and

unknown

not

ambo

of

in

tals
capi-

is Benedetto,

this

tomb

carved

original

the

Of

1178.

from

work

developed

the

dated

and

Vezzolano,

at

most

work,

Descent

fine

with

known

they

Piedmont,

was

century'

the

drapery

truly

twelfth

the

furnishings

at

The

"

from

of

cathedral

Italy.

probably

Byzantine

is

in

inscriptions,

church

northern

Antelami,

is

the

background

sculpture

earliest

whose

Parma,

at

French

that
of

1189,

his

adornment

the

in

Aosta,

at

of

but

rich

So, tpo,

dated

choir-screen,

Italy

Antelami,

Orso,

the

Pia-

at

arrangement

mind

to

portals.

Sant'

stone-cutters

northern

but

of

show

Benedetto,
of

French

cloister

reliefs

to

later

slightly

portal

of

proportions

In

call

reliefs

cathedral

Wiligelmus,

school.

by

cathedral

the

the

either

the

the

of

signed

are

at
at

author

of

same

these

subject

and

flat, and

those

the

to

the

less

are

works

Michele,

doubtless

was

facade

same

also

signed

San

183

ITALY

the

on

who

Sagra

at

and

cenza.

the

carved

(Nicolo),

Ferrara,

of

SCULPTURE.

137-1.54.,

to

The

See

184

decoration

similar

Lombard

of

enriched

spread

many

to

worked

for

Pantano,

the
is of

of

of

equal

the

sculptors

and

neighborhood

Nicola
The

Apulia,

Nicola

His

only.
Pisa

at

six

columns

the

and

four

following

Last

Byzantine
by

inspired
figures
the

Virgin

pagan

direct

are

in

sarcophagus

in

the

the
now

In

the

his

but
Roman

imitations
Adoration
in

the

reliefs

the

Virtues

of

his

Campo

of

the

(1) the
of

trade
balusciation
Annun-

the

Magi,

of
which

time,
of

the
In
work

Roman
is

the

occupy

details

sarcophagi.

scene

prophets

Crucifixion,

treatment

of

Gothic

its

(4) the

many

Santo

copy
at

in
is

figures

of the

Pisa.

and

arrangement
were

fact,

of

ance
acquaint-

of six

panels

by

forms

the

Adoration

Temple,

tion
adop-

fantastic

pulpit

from

lions, and

on

show

with

five

di

baptistery

by

the

represented

In

traditions

stand

of

"

supported

give

the

(2)

by

capitals

figurines

are

Judgment.

follows

Nicola

and

scenes

Presentation

the

(5)

filled

are

Nativity):

the

and

capitals.

the

and
the

spandrels

Pisan

arches,

of the

carving

evangelists,

above
the

the

Pisa

is formed

trefoil

The

Pisa.

to

in the

pulpit

which

architecture

The

the

corners

main

and

French

character.

of

base

which

Como

(or Nicold)

structure,

of

three

(Fig. 99).

mouldings,

is the

hexagonal

corners,

the

relief

with

(3)

the

column
in

group

is

This

at

work

be

stone.
at

came

apparently

was

dated

first

(1260).

central

himself

Nicola

and

is Nicola

father

His

Pisano.

skill.
to

that

of

in

time

of

Baptistery

sculptor

this

seems

workers

the

of

for

set

average

indicate

may

many

Pulpit

Italian

really great

called

Piero,

The

good

of

"Comacino"

which

and

stone

work

word

produced

Pisano,

first

the

black

Lombard

Como

recognizable

are

the

by

exhibits

general,

in

to

all

it all

century

applied

and

ployed
em-

of

1235,

works

art,

were

Guido

about

His

French

artists

where

Lucca

forms
Not

but

value,

for

Lombard

"

with

contact

Lombard

1250.

eyes.

thirteenth

its

in

the

by

Tuscany,

1211,

Pistoia,

of Italy.

Parts

Italy.

in

in

roundness

the

In

and

Pistoia

centre

of

Benedetto.

by

dignified

Donnino,

San

Borgo

at

Other

in

parts

near

the

cathedral
also

and

Venice

at

by

the

Sculpture

sculpture,

SCULPTURE

OF

is doubtless

Modena,

near

HISTORY

clearly
of

some

for

the

the

instance,

Phaedra

Moreover,

on

186

the

HISTORY

of

Slaughter

Damned

than

larger

are

crowded

however,
have

and

graceful

the

the

Christ

The

of

and

erect

here

in

than

and

pulpit

lowest

The

century.
is

Lucca

arranged

to

his
The

of

of the

later

the

and

and
other

upper

his

basin

Romulus

the

Italy.

standing
French

from

is much

stronger

the

of
of

the

semicircidar

in
in

Cross

The

heads

Pisa.

tunately
Unfor-

the

the

nineteenth

Pisa

at

at

tympanum

This

heads

at

colossal

admirably

composition,
space.

the

are

cathedral

at

remodelled
the

Nicola

of

baptistery

dramatic

master.

of

in

Virgin

works

least,

were

from

fountain

and

lower

last

and

nificant
sig-

is

probably

belong

well

may

an

years.

great

Nicola

of

Descent

fill the

to

work

early

these

by

decoration

derived

portal

at

spme,

powerful

side

colonnade
of

most

the

influence

Other

"

of

and

columns,

occupied

the

also

are

The

grace.

hitherto

and

of

Virgin

Pisa.

at

Nicola,

in

unknown

been

northern

tympanum

the

above

the

probably

familiar

Child

The

all

or

admirably

the

the

are

study

statuettes,
are

above

Judgment

the

of

and

Lucca

Last

large

feminine

its

faces

evident

more

represents

column

had

art.

Works

Other
lintel

the

is

the

Pisa,

at

balustrade

spaces

were

as

but

holding

monumental

the

central

such

churches,

themselves,

figures

The

in

exquisite

gained

space

The

there

which

panels

is therefore

those

the

that

the

figures,
French

of

arches,

of

base

great

than

the

the

the

composition

clearness.

comers

is

the

portraits,

All

but

pulpit,
;

driving

Angels
panels.

intensity.

dignified

of

spandrels

of

the

Annunciation

the

in

dramatic
at

Pisan

figures

effect

more

reliefs,

high

the

added

beautiful

more

the

more

life and

of

of

lacking

are

and

the

additional

and

SCULPTURE

Innocents

occupy

those

with

is filled

the

Hell,

into

OF

son

are

Remus

subjects,

basin

the

Arts.

Here

pulpit

of

the

fibres

of

the

reliefs

the

was

the

fifty-four

representing

the

signs

with
and

the

of

baptistery,
Arts,

wolf,
the

at

imitation

Liberal

1278,

On

Giovanni.

figures

are

dated

Perugia,

at

saints,

Works

patriarchs,

ancient

is

hardly

art,
to
are

be
the

so

the

of
the

noticeable
discovered.
work

Zodiac,
Months,

corners

and

of

of

panels

of the

twenty-four

of

which

the

of

work

the

Liberal
in

the
The

Giovanni,

SCULPTURE.

MEDIAEVAL

Dominic

It

Bologna.

in

be

may

laid

work

in

have

to

seems

chest

Nicola

1265

in

the

the

done

St.

his

at

but

area,

by

of

church

great

designed

been

received
relics

the

which

in

1267

Nicola

that

In

spirit.
or

area

solemnly

were

actual

marble

the

for

order

an

French

entirely

almost

are

187

ITALY

the

pupil

Fra

Guglielmo.
Nicola's

Of
of

his

he

died

in

life

his

Giovanni

Pisano.

chiefly
cathedral
for

the

pulpit

in

him

for

occupied
for

the

cathedral

pulpits

two

lesser

his

are

works,

The

pulpit

Nicola's
of

the

pulpit,
the

in

pulpit
chief

reliefs

with

the

the

of

all

bent

drapery
and

the

lacking

passion,

in
if it

as

he

active
of

the

which

Pistoia,

in

the

pulpit
These

1310.

sculpture,

though

and

Virgin

the

order

an

began

of

of

and

was

accepted
at

intact.

the

are

same

of

the

there

is

the
the

or

Child,

grace

but

the

The
of

Innocents
here

first

substituted

for

the

is

rapid

crowded,

of
of

outpouring

heads

and

contorted,
is full

serene

the

unnatural,

faces
work

the

of

composition

the

subjects

Nicola's

trace

no

proportions

were

those

like

hexagonal,

Pisa.

at

The

other,

is

It

as

sculpture.

side

one

he

works

baptistery

exaggerated,
to

he

finished

was

1250-1328),

capomaestro

1302

to

(1266-1268)

Andrea

In

is still

But

ancient

action

S.

statues

Massacre

Presentation.

beauty

of

sufBce

sculptor.

1278

1298

which

Pistoia

at

they

beautiful.

and

interesting

are

In

four

but

made

was

important

including

advanced

Siena

at

years.

most

been

(about

after

he

1284.

Pisa,

at

have

Italian

great

years

three

Probably

Pisano

church

the

Perugia.

few,

first

and

in

must

father

twenty

Siefta

at

he

dates

the

except

at

are

his

architect,

an

as

when

Giovanni

"

For

Perugia.

at

fountain

the

as

assisted

Nicola,

the

works

position

is known

nothing

1280,

known

His

establish

of

from

far

not

of

and

pulpits

two

years.

son

virtually

the

movement

vehement

nature.

The

pulpit

entire.
of

scenes

of

It

St.

group

John
of

of

pulpit
the

scenes

cathedral

ten-sided,

was

the

the

at

Baptist
of

the

Pisa

at

and

Siena,
before
Passion

(Fig. 100)

its Yiine
with

the

the

panels

before

the

no

longer
the

reproduce

addition

Nativity

is

the

of
and

Birth

confused

Crucifixion.

In.

188

these

panels

Pistoia
the

have

Of

SCULPTURE

the

movement

and

vehemence

Caryatides,

the

these

Christ

is

the

pulpit

of

Giovanni

supports

In

Medici

the

works

rather
of

part
when

is

PmcRE

100,

Giovaimi
the

Pulpit

"

Pisano:

Cathodral

fonnerly

of

Pisano

his

geliius

than

Pupils

of

Nicola
for

for

in

of

that

and

faces

the
is

pression
ex-

attuned

art,

individual,

Fra

in

San

at

less

his

father,
for

concern

is

Cagliari

Giovanni

his

di

probably
in

fuor

of

the

Sardinia

Civitas

call
of

d'Agnello
Cambio

Pbtoia.

Pisa

Florence

author

(1260)
at

of

pupils

Giovanni,

son

Guglielmo
Arnolfo

the

"

from

apart

Guglielmo

cathedral

had

as

Of

Gvglielmo.

and

1313)

Undoubtedly

intensity.

only,

Fra

the

French

and

woe.

with

Fra

mention,

1238-after

(1232-1301).

the

French

passionate

two

particular

from
was

Nicola.

Pisano

(about

ambo

learned

own

beauty

the

form,

grief and

to

but

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at

Giovanni

vanni's
Gio-

massive

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in

powerful

lines.
out-

of
the

of

they

was

however,

true

lack

grace
;

latter

curved

figures,

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frivolous

one

the

century,

sinuous,

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works

eral,
gen-

severity

These
the

than
In

of

art

monumental

and

fluence
in-

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thirteenth

to

de'

strong

Nicola.

French

yielding

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classic

less

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and

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attitudes

of

art.

Prudence

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far

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ure
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OF

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HISTORY

become

lectern

tomb

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and

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tainly
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The

SCULPTURE.

MEDIAEVAL

of

figures
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Nicola

it

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The
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at

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magnificence

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Nicola

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of

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ill

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Evidently

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IS9

ITALY

returned
of

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erected

tombs

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The

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which

101).

the

roof.

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From
of

monument

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1278.

French

(1282;

with

canopy

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in

the

front

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of

tl""

190

sarcophagus
and

cardinal.

the

bed.

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two

the

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the

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various

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the

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dramatic

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to

reproduce

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and

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Andrea

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works

work

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is the

di

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have

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much

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di

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"

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pupil

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(1273-1348),
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place
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human

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Naples,
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cially
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whose

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to

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King

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carried

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the

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1345).

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school

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Antonio

Bishop

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work

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sarcophagus,

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Nicola.

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person

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1313

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VII

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with

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the

SCULPTURE

OF

decorated

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on

HISTORY

called

Nino,

Pisa.

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MEDIAEVAL

under

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the

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composition

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harmony

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tion
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of

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beauty
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antiquity
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in

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France.

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life.

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sculpture,
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vation
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carved

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102.

may
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few

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is

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IS

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bronze

remarkable.

is

but

The

the

on

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Baptist,

the

reliefs

His

Giotto.

painter

great
of

series

191

ITALY

the

102).

Virtues.

draperies

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the

the

and

line

of

(Fig.

John

possible

of

is

baptistery

the

as

influence

work

attestet^

first

SCULPTURE.

di

Cione,

called

Orcagna

(1329-1368),

and

192

HISTORY

only

known

of

Or

work

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of

the

of

figures

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the

gentle
of

side
of

power

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but

beauty

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lacked

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and

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show

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of

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even

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in

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hands.

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and

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the

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painter.

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life

primarily

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sculpture

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to

SCULPTURE

was

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splendid

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scenes

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and

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OF

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tion
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the

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angels.

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HISTORY

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SCULPTURE

tombs

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the

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Lombard

in
and

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at

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{Fig.
to

104).
the

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in

SCULPTURE.

MEDUEVAL

works

whose
Milan

of

the

Mediaeval

survived
of

the

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sculptors

the

Doges'

in

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of

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style

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Venice

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century,

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the

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traditions
works

Viscx)nti

cathedral)

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to

Bernardo

of

(tomb

confined

not

are

195

ITALY

the

Paolo

Pier

delle

Massegne.
Late

Mediaeval
relief

branch

of

the

of

and

silversmiths.

the
di

the

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deserve

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themselves

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dei

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hands

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buildings,

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turesque
pic-

passed

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del

Opera
a

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into

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afterwards

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Orvieto,

at

the

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metal

in

(now

Giovanni,

such

century
Such

At

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"

school

fourteenth

baptistery

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Pisan

half

in

Sculpture

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imitated

to

rative
deco-

The
the

of

"

Porta

106

dei

at

of

Canonici"

the

north,

beautiful

HISTORY

at

the

south

consists,

and

the

SCULPTURE

the

from

apart

in

vines,

OF

midst

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the

of

della

Mandoria"

in

figures

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the

human

tympana,
and

animal

forms

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gin
Vir-

appear.

in

the

the

of

tympanum

southern

door

the
13

work

of

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d'

di

The

Ambrogio.

decoration

of

della

vanni
Gio-

the

Porta

Mandoria,

begun

byGiovannid'

the

Ambrogio,

father

of

Lorenzo,
was

continued

and

Nicola

di

Lamberti,

Piero

sculptor

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in

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earlier

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of

tbe

Canonici

In

Hio).

far

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finished

(Fig.

subject,

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in-

the
among

ful
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acanthus

branches
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than

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also

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already

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to

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in

the

CHAPTER

MEDIAEVAL

SCULPTURE

Beginnings
In

in

as

eleventh

Mediaeval

of

France,

called

the
in

only
classed

far

under

that

of

in

eleventh

doorways,

and

which

legends

of

Gallo-Roman

of

and

others.

as

flat,
ill

in

Auvergne,

of

and
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but

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general

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end

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those
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de

of

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re-

that

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schools

these

each

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of

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by

made

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in

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of

Poitou,

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(as

Eu-

generally

rope

and

also

in

Spain),

sculp_

tures

were

carved

in

the
of

stone

very

wfiich

ings
build-

the

were_built.
The

arid

figures

ornaments

were

integral

of

parts

buildmgs,

the
not

added

mere

adornments.
there-

Naturally,

French

fore,
mediaeval
and

doors

of

with
the

attitudes

The

the

of

churches

io

and

aojtraphy

other

taken,
du
IV.

BOtnewhat
XIJI"*

Chartres

the

columns
In
tion
execu-

faces

the
lo

taurc

strooRly

expres-

are

of

counlriea

their

exquisite,
the

the

at

110).

(Fig.

(which

church

beside

of

almost

dignified,

ic

stand

form

stand

sometimes
and

the

slender

they

architecture

cathedral

the

la

fronfait
chapter

of

Gothic

art)

which

natural

description
French

of

with
which

figures

long,

careful,

are

are

decorstion

the

among

they

The

facade

have

and

connected

closely

it.

western

(1150-1160)
before

is

sculpture

develops

'

Fiucrb

liieiiccd

decoration
the

aimilar

by

French

condensed,
SHcie.

Mile.

from

chapter

III.

Loui.ae

Symboliam

Pillion,
ia

Lcs
discussed

Sniipteura
Und.,

but

sivp,
makes

their

them

this

are

lost,

and

since

the

among

their

to

rigid

now,

SCULPTURE

OF

subordination

appear

facade

are

HISTORY

architectural

unnatural.
of

those

earliest

Function

The

the

of

portals

important

of

sculptures
Saint
of

examples
of

Denis

sculpture

the

He

de

France.

The

figure
in

Christ

of

the

t"-mpaof

num

the

tral
cen-

is

portal

dignified

once

and

gracious

the

proportions

the

drapery,
and

designed
executed

with

equal

delicacy

that

to

l.l.

of

Tympanum

the

draperVezelay,

of

'es

Southern

the

of

flowing
FifiURB

and

correct,

are

PK

at

"

TroDSCtit

of

Stephen:

Spcond

the

in

cast

Notre

the

Paris;

Dame.
Half

of

Door

Thirteenth

nf

Century

St.

(from

pntaina

littla

r"*".'

"^""

that

Trocadsro).

IS

tional
Conven-

or

reveals

and

The

who

sculptors

also

were

of

it

that

We

question.
general

of

still

is

adorns

number
of

must

of

so

of

such

ourselves

is

detail

with

(at

infinite
is

them

among

in

titude
mul-

vast

so

exhibit

sculpture

content

is

them

figures

the

and

numerous,

masterpieces

Gothic

tecture
archi-

to

nature.

each

the

1000),

natural,
un-

beneath.

brief

out

and

of

so

the

very

treatment.

Progress

as

are

limbs

firm

subordination

of

churches

study

strict

in

which

the

and

observers

exceeds

and

great,

keen

figures

variety,

worked

French

Important

Chartres

well-rounded

the

of
the

Ooihic

Seulpture.
facade

western

of

architecture

conventional

in

the

at

which
details

lU
Chartres

The.

Quantity^
are

they

form

of

drapery,

still

tures
sculp-

"

Romanesque,

part.
and

They
their

are

work-

210

regarded
almost

artisans,

as

by

work

of

church

the
his

have

and
the

we

style

general

the

at

are

the

master

lost

the

in

great
work

was

the

of

in

Germany,

free

facade

western

then

forms;

that

claims

the
this

supplant

This

lack

time

leads
the

to

there

to

an

rigid postures

sometimes

immobility

is

almost

(see the

and

times,
some-

occasionally

seen

the

its architectural

becomes

frequent
is toward

and

sinuous

after
curves

earlier

coquettish
Vierge

mains,
re-

whole

tendency

of

in the

but

with

striving
to

as

its environment,

attitudes,

evident

Jn

architectural

position

progressive

proportions,
is

are,

freedom,

and

"

thirteenth

architecture.

harmonize

century

Rheims.

the

to

one

harmony

flowing draperies,

somewhat

smiling,
of grave

of

Another

in costumes,

same

fails

in those

harmonious

independent

thirteenth

of the

end

iiafuralism

an

its merits,

of

upon

with

connected

architecture

where
else-

Century.

assimilated

the

sculptures

and

school

greater

is
of

went

its forms

and

statues

completion

of the

throughout

develops

the

the

on

dependence

closely

fourteenth.

to

from

discern

individual

Thirteenth

sculpture

sculptors

sometimes

some

the

same

adornment

of Amiens,

of
the

men
work-

the

to

stone-cutters

see

in

or

in

school

Chartres,

with

setting.
the

instead

itself

Amiens,

it forms

whatever

and

of

at

later, sculpture

and

we

the
traces

sculpture

at

as

At

the

in

several

and

years,

iFis'entirely subordinate,

first

the

of

and

case,

least, of

of Progress

is to"

of

the

possible
in

also

and

But

rule, the

building

that

So

tendency

the

century

in

In

influence

the

Bamberg,

before

work

employment.

Rheims

general

so

the

at

some,

Tendencies

At

the

was

work,

As

But

interrupted.

for
of

artist

the

edifice, and

different

exceptional

the

certain

Rheims,

of
it is

is unusual.

So

therefore

and

works

in

watching

ideals.

Occasionally
one

school.

cathedral

of

of
this

reliefs, but

or

the

time

same

hand

of

are

side

great

of

style

ability,

equal

merit.

unequal

of

sculpture
and

each

names

by

each

him.

from
of

development

all of

not

and

side

scaffolding,

learning

Amiens

and

progress

were

place

of

the

on

neighbor

their

worked

They

or

similarity pervades

SCULPTURE

stone-cutters;

mere

unknown.

entirely

sheds

OF

HISTORY

doree

features.

beauty,
which

figures,

expressions
of

Amiens).

SCULPTURE

MEDIAEVAL

enthusiasm

fur

cathe"lral

building

IN

was

FRANCE

past.

AltlioiiKh

212

HISTORY

churches

great

some

conditions
the

were

individually
buildings
the

to

their

or

some

of

delicate

the

reliefs

of

ones

on

the

Many

sculptors

is

their

qualities.

seem

to

of

Philip
the

Huy

de

was

of

one

made

the

statues

mond

du

Temple,

Romain,

brothers
the

was

at

St.

was

his

He

the
was

Jean

pupil,

Sluter

Gui

of

sculptor
Denis.

de

Pierre
at

for

of

Dijon.

called

(also

of

Rupy.
3eauneveu
Prindale

also

VI,
by

de

Jean

and
went

de

the

Duke

Marville

Savoy

Good,

de
and

Berry
Claus

Prindale
in

Launoy,

1418.

from
and
and
Sluter
worked

Jean

the

tomb

Nounche

Paris.

V,

Chartres),

Beauneveu,

Hennequin
to

de

Jean

John

the

of

de

of

de
at

Charles

Jean

pupil

artist

James

Jacques

Philip

employed

St.

Pepin

pupil,
A

of
and
1345.

teller.

Guillaume

under

Andrl

Dammartin.

tombs

of

Louvre

belong

the

and

tomb
choir

about

Bou

V.

Priv6,

I^lgrims
the

Charles

de

also

of

Charles

Launoy

father,

the
the

His

century.
by

Thomas
de

the

architect

Collet

and

below.
Claus

time

Jacques

Andr6

with
Robert

apostles

the

fourteenth

le

and

transept

probably

Jean

the

PariB
His

about

died

nephew

employed

were

was,

his

who

been

at

carved

reliefs

He

1340.

by

the

in

Denis.

of

the

To

about

sculptors

southern

d'Arras

the

began

1531

who

Loisel,
St.

at

sculptor.

Dame

early

Jean

1270.

but

estimate

have

to

'the

the

name,
to

Dame

of

in

by

(1313-1320).

artist

only

not

or

few

great

and

them

Notre

traiture,
Por-

seen

appears

transept

Chelles,

and

the

for

known

now

of

other

thirteenth

chapels

mention

to

in

the

be

with

chapels

Ravy

about

those

Robert

Li^ge,
Duguesclin

St.

Paris

to

de

Jean

Notre

the

about

died

are

Chelles

de

northern

Jean

finished

were

came

Li^ge,

the

Denis.
of

screen

reliefs

of

some

of

Dame,
St.

at

Pierre

architect

Notre

III

altar

The

of

and

sculptor

portal

de

sculptures

the

of

the

in

while

worth

of

private

work

and

increases.

to

century

ve^,

detail

sculpture,

important,

extant

tions
posi-

and

tombs

their

any

be

of

likenesses

fourteenth

the
connect

may

reliefs

the

in

sons
per-

is

fine

screens

some

were

their

century

statues,

more

their
also

in

in

and

important.

been

of

sculptor
also

of
to

It

have

and

valets

uncertain.

payment

altar

their
as

though

anecdotical

appeared

wished

difficult

often

reliefs

but

tombs,

On

tors
sculp-

summoned

they

fourteenth

much

more

age

their

it

in

becomes

century,

is

Thus

is abundance

skill.

had

which

there

there

both

naturalism,

the

The

attached

were

public

decorate

to

their

of

princely

were

courts,

and

of

sculpture

technical

of

interior

insecure

wishes
of

labors.

patrons.

various

at

charming

and

lack

their

of

and

but

artists

task

houses

potentates

Often
of

generally

Much

and

tombs.^
service

their

workmen,

consequence

were

no

unknown

the

tombs,

of

1300,

the

out

carry

elaborate

after

more

beautify

to

scenes

princes

by

personal
of

chief

longer

no

to

than

chapels,
the

and

rather

patrons

became

palaces

completed

or

More

be

to

Private

worship.

built

were

came

wealthy

or

SCULPTURE

different.

were

sculptors

royal

OF

^"Ayalso

was

Jean

de

and

the

Flanders,
Charles

others,
are

tioned
men-

under

as

MEDIAEVAL

interior,

to

the

well

as

death

SCULPTURE

mask,

realistic

painfully

the

toward

end

form

the

of

is

and

sad

painful

thirteenth

Besides

with

connected

buildings,

manj'

the

carved,

some

be

set

others

that

carried

these

but

others

maternal.

row,
sor-

of

quality
varies

excellence

great

foui^

purely

are

execution

the

of

of

The

their

in
common

the

by

Many

\'irgins

are

in

rare

they

about

travellers.

pious

been

of

churches,

small
be

had

thought

size,

so

could

the

were

large

in

up

represent

ures
fig-

Virgin
of

to

ture
sculp-

gious
reli-

the

sculptures

of

begins

religious

tendency

relatively

The

portraiture,
In

whitrh

Passion,

palaces.

emphasize

to

become

century,

teenth.

and

the

of

their
of

increasing

episodes

Scenes

death.

to

constantly

213

FRANCE

century.

appear

there

of

outside,

on

as

IN

from

to

utter

mediocrity.
Sculpture

Dijon.

at

"

Toward

the

century,

Dijon,
of

end

Dukes

de

called

the

of

in

de

the

his

in

mol,

famous

most

the

Dutch

the

chapel

monastery

just

outside

origin,

(now
of

is

Dijon

of

continued
who

the

hospital
(Fig.

de

for

115).

on

tomb
the

Claus
to

Moise
the

died

Sluter,
in

Dijon
(Well

insane)
This

of

tures
sculpHe

Champmol.

come

was

"imagier"
the

Iwgan

by

had
Puits

his

working

was

work

work

he

I:i83

origin,

be

to

he

was

of
His

In

of

Flemish

Bold

1.387-1388

portal

and

the

Philip

in

of

sculptor

chambre.

and

Duke,

1389

art.

Duke

valet

of

portant
im-

Marvilie,

by

and

of

an

centre

Jean

dence
resi-

became

Burgundy,

the

of

the

the

"

of
of

was

parently
ap1384.

Moses)

Chamj"originally

214

the

pedestal
of

part

of

the

strong

HISTORY

worn

less

in

the

Christ

thirteenth

the

Zachariah,

Isaiah,

of

masterpieces

Sluter.

upper
as

tured
tor-

century,

but

Moses,

about

figure
Jeremiah,

the

Their

bleeding,

familiar

of

grouped

Claus

the

was

statues

the

represented

fifteenth

which

The

and

is

not

the

in

majesty,

century.

David,

the

are

in

He

seen

but

nothing

suffering,

frequently

so

which

remains.

with

out

SCULPTURE

of

Christ

of

Christ
still

Calvary,

figure

man,

OF

pedestal,

powerful

forms,

in

ample,

draped
heavy

and

gannents,

their

strong,

sive
expres-

faces

servedly
de-

are

admired.

They

have

must

stilt

impressive

more

when

they

with

original
The

of

statues

Champmol

also

in

John

tho

Fearlctui,

Trotad^o,

of

the

did

the

the

sides
and

the

of

by

^Ioitu^ie^

Sluter

and

of
the

of

Bold

by

Philip
begun

was

Jean

de

life

the

Juan

the

in
Fearless
la

de
is

or

Claus

de

Werve.

latter's

nephew,
The

Mar-

all
;

faces.

Such

fifteenth
and

in

and

work,

Gothic

niches
for

but

their
is

there

no

of

figures
{Fig,

century
his

recumbent

admirable

grief,

express

Claus

remarkable

truly

are

by

an

standing

than
more

continued

is

sarcophagus

lluerta

little

the

ville,

sculpture.

mourners

to

seen

John

the

of

attitudes

frequently

begun

the

by

1412

sarcophagus

truth
in

in

on

figures
of

repetition

tomb

Sluter.

of
!"

casta

most

Duke

small

variety

are

(from

finished

who

Werve,

and

le

and

Sluter,

statue

in

Dijon

Tomb

part

work

PariB).

Claus
de

the

on

are

tomb

the
Mournera

portal

the

Claus

The

"

fine

the

at

of

116.

glowed

their

colors.

FiacHK

been

mourners

116).

The

wife

Margaret

of

Bavaria,

finished

in

by

Antoine

copy

of

the

1469

work

of

Claus

MEDIAEVAL

"

SCULPTURE

Burgundian'*

in

Influence

the

215

FRANCE

IN

Fifteenth

The

Century.
"

influence

the

of

the

in

fifteenth

works

who

is

1459

in

recumbent

The

of

the

fifteenth

realistic

which

of

full

and

by

Tonnerre,

One

Michiel

Jean

finished

in

and

Son

(the

with

the

and

great

sculptors
characteristic

realism

with

and

able
are

of

of

the

Virgin
the

knees

to

French

They

century.
all

the

as

of

and
woe

represented
which

emotion

is
a

of

the

bitterly
her

grief

express.

sculpture

of

cified
cru-

realism

Such

of

are

intensity

tions,
Deposi-

Sonnecte,

body
of

the

hospital
la

de

Georges
of

in

to

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the

in

scenes

common

also

even

finest

that

in

with

tombs

works,

the

died

seen

other

fifteenth

the

who

is

on

"pieta")"
in

are

her

holding

mother,

mourning

of

Figures

1452.

was

Morel,

chiefly

other

is

emotion,

Jacques

style

and

century.

whose

and

1418

Burgundian

sculptors
is

works

Depositions,

Madonnas^

end

the

are

statues.

many

in

attested

His

Angers.

was

style

Lyons

at

ing
far-reach-

Dijon

of

Burgundian

mentioned

first

at

the

of

One

century.

clearly

are

school

Burgundian

fifteenth

ing
prevail-

century.

CHAPTER

MEDIAEVAL

the

miniatures.

and

of

art

ivories

are

independent,

revived

it

merely

was

independent

had

Eleventh

probably
in
the

of

under

Bishop

doors

(1015)

cast.

Whether

cathedrals
but

centuries,
time,

Bernward
and

not

an

the

far

The

attitudes,

apart.

that

show

and

in

reliefs
The

Rome.
crowded

and
of

imitation

short,
lack

the

door

those

of

of

stiff

expression
of

those

figures

S.

in

are

in

middle

are

richer

relief

are

make

them

of

bronze,
of

relief
is

(see
and

is
and

grotesque,

technique
Verona

were

not,

or

high

column

the

in
but

216

column

the

Zeno,

Hildesheim,

to

of

are

artist,

rather

is

was

bronze

(1022)

intended

artist

"Christus-Saule"

The

natural.

the

the

that

the

sometimes

are

It

work.

1023)

doors

survived

Augsburg)

and

himself

the

ing
cast-

sculptures

Christus-Saule

was

on

had

bronze

first

in

died

so-called

bishop

bronze

but

lost,

goldsmith's

(who
the

of

art

Hildesheim

magnified

figures

resemble

and

centui^'',

the

The

The
at

The

reliefs

of

rudely

"

monasteries.

uncertain.

spiral

fourteenth

entirely

been

the

nothing

virtually

lively

and

sculpture

Century,

never

worLs

doors

(the

the

of

small

the

Saxon

art.

Bronzes

in

of

part

ancient

somewhat

twelfth

to

tenth,

the
The

the

thirteenth

the

in

ninth,

by

rule,

of

carvings,

execution.

as

in

off

the

of

in

but,
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218

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219

GERMANY

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220

HISTORY

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SCULPTURE

MEDIAEVAL

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221

GERMANY

IN

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223

GERMANY

mention

to

of

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224

of

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SCULPTURE

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XIV

CHAPTER

MEDIAEVAL

English

SCULPTURE

Sculpture
intolerance

religious

in

sculpture

the

not

to

with

slabs

carved

in

origin,

those

to

derived

of

from

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Saxons

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hardly

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to

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in

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The

Architecture,

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have
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art,

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refined

hardy

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Ruthwell

Ruthwell

and

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works
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Bewcwttle

227

than

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twelfth

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seems

usually

Norman

development

magne,
Charle-

England,

which

of

and

similar

carvings
under

works

the

Irish

of

goldsmith's

these

of

antedate

continuous

immediate

of

all

monsters

western

style
and

entirely
sometimes

apparently

and

the

ivories,

that

really

Sculpture

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reliefs

almost

Germany

southern

in

tively
rela-

of

Ages.

curious

ivory

that

apparently

and

and

style

and

paintings,

begins

in

France

stone

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scrolls

crucifixes,

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aid

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small

relief

flat

very

Scandinavian

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on

be

Middle

the

of

of

for

to

however,

conquest
with

works

and

seems

was,

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decorated

crosses

figures,^

are

the

before

now

least,

at

part,

with

continent,

sculpture
Such

"r

hardly

the

and

Time

Conquest,

more

on

mediaeval

during

Sculpture
confin"l

dealt

importance.

case

Norman

than

England

slight

by

have

English

reason

the

before

ENGLAND

IN

A.
1913.

S.

that

and

name,

HISTORY

coming

to

EngUsh

sculptors.

Nevertheless,

sculpture

progressed

in

century

FionRE

Portal

122.

of

of

SCULPTXJRE

the

encouragement
twelfth

OF

the

Rochester

Normans

brought

Cnthcdral.

In

England,

(Photo.

direct

no

the

not

on

Mansell.)

"

of

account

life

of

the

Norman

England

was

Works

Abbey,

the

tympanum

like

conquest,

closely
the

connected

spandrel
of

Rochester

but

because
with

carvings
cathedral

the
that
of

of

religious
the

tinent.
con-

Malmesbury
(Fig.

122),

and

SCULPTURE

MEDIAEVAL

of

that

Prior's

the

directly

England
of

the

in

Durham,

in

this

style

middle

Gothic

Effigies.

"

took

in

as

three

into

1280-1360,

period

sculpture
with

At

limestone

called

quarries

interest
the

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can

delicacy

of

facial

be

traced

sentiment.

great
The

art

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of

head

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of

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the

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admirably
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churches.

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and

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the

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spandrels

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Salisbury

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heads

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and

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vided
di-

second

architecture

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and

be

the
In

effigies
of

tecture,
archi-

may

fronts

the

of

developed

England

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on

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carvers

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when

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lay

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sculpture

century,
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They
on

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1200-1280,

of

chiefly

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century

expressive.
head

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development

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with

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Heads

1360-1530.

many

were

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the

of

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in

or

style
The

effigies

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an

Periods

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niches

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time,

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the

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closely

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it, taking

and

the

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gargoyles,

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the

with

happily

the

France,

first

and

century.

sculpture

the

periods,

about

developed

Gothic

of

"

architecture

France.

monastery

century

Its

connection

neither

though
exactly

as

in

place

in

origin

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in

come

"

its

twelfth

twelfth

England

England,

In

sculpture

stops,

in

Sculpture

are

tions
direc-

outpost

Toulouse

Scandinavian

the

throughout

persisted

the

all

Lincoln,

York,
of

have

the

England

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though

work

of

to

seems

church

important

at

delicacy

and

school

In

1200.

end

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earlier

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where

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influence

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vigor

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reached

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great

clearly

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pilgrims

was

at

the

of

toward

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show

whether

Spain,

England,

and

style produced
works

in

sought

harsh

somewhat

of

way

centre

combination

Toulouse,

to

northeastern

In

Cluny.

its

cathedral

Ely

numbers,

great
had

be

perhaps

may

of

the

by

or

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art

school

Compostela,

de

Santiago
resorted

of

the

of

influence

the

oi

Doorway

229

ENGLAND

IN

such

thirteenth

technique
was

espe-

230

HISTORY

cially

in

home

at

thirteenth

southern

century.

Head

capitals,

supplanting

the

capitals,

though

comic

figure

scenes

devils

were

When

figures

Lichfield,

at

as

scrolls

Relief

Larger
relief
of

in

and

Lincoln

the

and

their

in

styles
In

the

figures
in

are

and

but

tympana
is

merely,

as

at

The

Judgment

The

composition

from

the

reliefs

less

Porch

paintings

at

figiu-e
Lincoln

tympana
in

or

(about
seems

manuscripts.

to

local

draperies.

like) detached
The
the

figures

background
The

as

subjects

Wells,

at

apparent.
Often

France.
set

group

able
trace-

technique

of

always
in

Lincoln

between

from

in

is

be

general

an

nected,
con-

The
there

quatrefoil.

1270)
in

markable
re-

adaptation

in

statues.

not

than

important

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in

is

are

distinctly

the

at

(about

at

both

sometimes,

are

connection

and

is

in

1240),

shadow.

of

quality

figures

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and

free

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at

they

treatment

deep

almost

the

such

in

placed

are

far

the

and

transept

angels,

(trefoils, quatrefoils,

such

are

in

usual,

execution

where

Differences

noticeable

drels
span-

is

(about

style

of

larger

the

favorite

Angel

vine

spandrels

seen

beauty,

the

sentiment.

approaching
of

are

1250),

later

relief, sometimes

series

the

ih

eastern

expression,

to

of

scenes

high

thus

of

earlier

niches

or

the

In

the
In

Worcester

and

The

"

in

in

theme

are

were,

framed

taste

work

development

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recessed

and

they

but

tympana.

Angels

filled.

expression
are

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grace,

1260-1270)
from

connected

at

aisle

be

to

space

of

such

Westminster

for

(about

of

found

are

choir

at

in

Salisbury.

They
in

and

skill

great

Examples

spandrels.

and

niches,

gargoyles.

France,

chiefly

seen

and

arches,

Period.

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is

period

develops

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the

this

of

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composition.

to

Sculpture

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soon

1240),

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of

in

in

Dragons

1200.

as

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also

more

Salisbury,

the

consistent

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and

in

Romanesque

with

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Romanesque

of

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on

under

the

especially

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Westminster,

the

after

about

subjects,

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placed

of

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carved

with

employed

was

scenes

many

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figure

favorite

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closely

sculpture

were

also

seldom

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at

SCULPTURE

England,

Westminster,

and

Salisbury

OF

exception.
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MEDIAEVAL

Statues
cathedral

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the

of

interiors

of

1200)
wood

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The

and

Part

1 23.

few

comparison.

neighboring

FiGDRE

which

though

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in

metal

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to

seem

churches,

remain

works

of

statues

Peterborough

"

of

heavy

The

Period.
"

(about

figures

now

First

231

ENGLAND

IN

SCULPTURE

the

in
had

the

stone

been

such

Peterborough
is

the

works
have

figures

peculiarity

same

for

made
of

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style

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seen

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places.

ot

of

Facnde

Exeter

";iithe(trHl.

(Pliolo.

Msrincll.)

"

At

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large

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as

French

at

of
Exeter

this

rows

the

fa";ade.
(Fig.

123)

northern

the

about

may

similar

Lincoln,

in

are

deeply

tradition

Romanesque
Spain

and

front,

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and

180

stand

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across

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was

remain.

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in

and

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cathedral

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Gothic

Angoul"me,

design

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arranged

portals.

Poitou,

of
of

127

niches

recessed

seen

front

statues,

separate

the

the

and

have

of

influenced
is

arrangement

English

portals

232

HISTORY

never

are

rich

so

statues

and

French

contemporary
The

feeling.

sculptors

the

by

the

this

is

the

and

the

of

which

places.
by

best

tinguishes
dis-

Apparently

Purbeck

marble

influenced

were

the

the

of

and

rather
of

style
from

latter

Apparently

Peterborough

of

part

northeastern

squat.

the

but

thirteenth

with

felt,

century

certain

soon

itself

makes

London,

combined

grace

in

elsewhere

and

tense

dignity.

severe

was

much

was

used

carved

about
in

At

figure
frame.

sunken

effect

florid

decoration

with

Since

the
that

and

before

customary
first

the

the

was

of
a

posture

adopted,

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often

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figure

appears

this

if

horizontal

the
in

however,
crossed

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in

the

it

head,

spite

of

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legs,

sides.
the

unavoidable,

century

under

ments
adorn-

position,

almost

was

or

then

standing
at

if

as

framed

and

columns

retained,

with

immediately

as

thirteenth

pillow
was

down

lying

represent

standing

in

were

architectural

appears

and

placed

middle

other

and

posture,

1225-1245),

and

figure

London

to

higher

(about

the

at

stone

the

became

overhead

was

the

On

developed

finished

standing

that

so

crockets

were

involved.

posture

relief

arch

person

to

the

The

an

the

away,

often
taken

of

part

cut

with

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idea

the

gradually

often
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slabs.

memorial

was

figures,

disappeared

added.

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only

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and

relief,
the

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Such

Piu-beck

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there.

flat

for

effigies.

but

quarry,

The

pillars, capitals,

material

complete

set

for

carved

were

Period,
"

favorite

these
into

First

the

Effigies of

in

and

heavy

are

of

without

not

are

softness

other

the

tenderness

Peterborough

at

probably

works

of

greater

influenced

1250,

figures

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new

perfection

wood.

continuation

of

carved

were

expression,

clinging

work

those

about

Lincoln,

England,

of

the

The

attitudes,

exhibit

were

as

workers

At

the

somewhat

workers,

have

Wells

at

but

churches.

period

in

attain

work,

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this

to

progress

not

draperies

them
the

do

They

draperies.

French

great

belong

exhibit

and

1220-1242

the

of

which

Wells

at

about

those

as

SCULPTURE

OF

which

became

though
the

at

sistency
incon-

recumbent
does

not

234

this

period

carved

in

fusion

architectural

middle

the

by

from

architecture
The

of

style

relief

Small
small

sentiment.

of
in

this

many

the

dency
ten-

enced
influ-

turn

lively

sides

in

the

of

cophagi.
sar-

and

Nottingham
much

show
were

the

strong

first, but

stone,

cacy
deli-

also

carved

end

of

freestone
look

chiefly
period

The

and

to

to

other
and

anecdotal
Third

The

(about

really

relief

made

the

coarser

had

been
that

was

of

other

(and

which

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technical
into

began

sculpture

elaborate

surfaces.

crowded

but

dexterity,
small

of

vaulting

exhibits

It

the

great

variety

little

dignity.

and

spaces,

be

to

there

are

reliefs.
Period

in

in

bosses

great

local

shops
as

Gothic

of

1360-1530),

made

style

was

work.

small

are

East,
the

to

alabaster

The

1350.

the

effigies

1270)

clunch),

as

architectural

confined

figures

many

London

(after

"

expression

Many

after

style

first

of

the

suited

more

the

that

such

marble

style,

in

Everywhere

Purbeck

second

third

stones,

like

of

London

the

in

Ancaster

at

the

century

Bristol

and

England.

free

In

the

wood,

fine-grained

North,

broad,

fourteenth

Exeter

at

style

the

of

middle

marble,

and

freestone

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in

London

Purbeck

effigies

the

developed.

soon

of

in

the

Toward

part

carved

places

of
at

early

were

York

at

influence

now

shop

with

seen

ivories

Period.

the

in

several

at

of

are

the

separated

became

England

"

effigies

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the

statues

in

which

from

excellent

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and

tomb

soft,

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adorn

southern

Some

the

of

thirteenth

that

in

of

exclusively

qualities

alabaster

of

period.

Effigies

and

of

style

be

to

dignified,

sculpture,-

ture.
architec-

making

more

less

which

made

the

pettiness.

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figures

figures

stone

and

the

century

grew

"mourners"

or

result

statues

with

measure

become

to

serious.

"weepers"

as

the

connection

fourteenth

prettiness

than

great

statues

architectural
rather

in

the

of
and

toward

in

but

between

place

carved

adopted

sculptors,

began

took

style

those

imagers

SCULPTURE

OF

of

and

shops

The

work.

HISTORY

and

part

Sculpture.

diflFerences

placed
of

in

"

are

In

the

less.

architectural

architecture.

They

third

period

Statues

settings,
exhibit

were

not

less

MEDIAEVAL

variety

SCULPTURE

less

and

Such,

front

western

in

this

rudely

Lincoln

Ejfiffm

period

the

of

show

the

{about
Exeter

occur.

of

doorway

1380)

the

or

(about

good

tures.
ges-

exceptions

"over

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at

exaggerated

though

cathedral

row

ets
proph-

Many

L380).
but

technique,

the

others

are

executed.

carelessly

or

rule,

235

ENGLAND

tbeir

of

spite

the

the

are

upper

of

statues

rule

of

the

is

least,

the

of

Examples

in

expression,

at

IN

Third

Period

Brasses.

Tomb

of

effigies

"
"

this

period

are

(Fig.

numerous

Five

124).

Weatminater

former
of

of

twenty

being

effigies

realism
Italian

England

the

alabaster

the

Renaissance.

Engraved
on

the

continent,

with

its

1500

is

technique.
in

facile

hint

any

brasses
and

are

many

marked

effect

of

ness.
same-

of

is

the

Flemish

effect

more

of

the

respects

delicacy,

slight

some

no

the

Changes

other

exhibit

period

(Photo.

alabaster,

or

but

dates,

entire

there

freestone

alabaster

different

After
but

appears,

of

rest

craft,

influence.

than

by

the

throughout
The

dominant

influenced
show

costume

the

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bronze.

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I.

about

of

are

of

the
in

common

them

are

Eng-

lish

They

work.

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Statues

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resemble

they

sculpture,
attitudes

of

somewhat

the

windows.

Interior

in

the

style

stained-glass

with

little-affinity

repeat
In

effigies.

in

figures

SCULPTURE

however,

they

as

ao

carved

OF

have,

far

in

except

HISTORY

Decoration,

Most

of

the

of

statues

the

"

elaborate

choir

and

screens

other

interior

adornments

churches

have
but

remains
the

peared,
disap-

the

existing

indicate

that

conditions

same

in

as

vailed
pre-

architectural
London

sculpture.
doubt

no

of

the

of

was

great

tre
cen-

but

production,

other

existed

centres

Oxford,

Norwich,
and

where

three

of

imagers

of

Drawswerd

their
of

York,

generations
the

by

The

figures

choir
of

(end

the

century)
in

line,

Port

the

of

teenth
fif-

are

their

culiar
pe-

emphasis
by

produced
and

cutting,
125.

at

screen

York

FiocBB

name

practised

art.

the

of

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tingham,
Not-

their

deep
ity
rigid-

ot

Chapel

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(Photo.

Abbey.

WeBUDioster

VII.

MoDsell.)

if

as

by

affected
of

chapel
the

that

The

figures

and

freedom,

show

Arckitectural

now

Westminster

little

fully
Reli^

longer
were

in

covered

occupied

works

influence

Sculpture.
spandrels
by

the

this

to

in

Italy

offers

period

(Fig.

exhibit
remind

panellings

life

that

the

us

that

at

time.
relief

Architectural
other

125).

great

"

and

were

The

(1502-1512)

and

nothing

developed

of

style

look

windows.

Abbey
of

or

their

stained-glass

in

figures

Flemish

but

was

the

collection

extant

Renaissance

these

VII

Henry

greatest

no

of

They

pose.

large
of

the

ture
sculp-

surfaces,

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as

MEDUEVAL

ular

SCULPTURE

style, but
small

similar

and

devils

of

of

interior

fifteenth

tombs,

on

in

.figures,

and

is evident.

covered

It

be

may

whole

form,

plays

mystery

sculptures
of

ceilings

the

(Norfolk)
in

carved

the

fairly

Stalls,

etc.

and

Church
The

the

sculptured

pictiu-es

the

contemporary

statues,

in

made

various

bosses

where

England,
usually

especially
second

from

half

1400

and

structures,
increases

still

the

in

further,

of

the

the

the

period
merit.

great

Retables,

this

period

are

like

These,
Fonts

Norwich,

at

sixteenth
while

this

work.

The

East

fonts

of

style

fonts

were

in

are

their

quality

of

is,
the

In

very

century

are

which

pictorial.

essentially

century

March

Tombs,

specialty.

wooden

admirably

of

of

in

angel

at

furniture.

panels,

1450,

to

fifteenth

the

of

figured

with

octagonal,

also

were

the

nave

are

especially

places,

feathered

angels

city shop

are

times
some-

finest

of

reliefs

church

on

are

worn

Font?,

characteristic

most

"

style

costumes

the

them

of

groups

in

figures

Furniture.

or

feathers

the

wooden
of

become

suggested

hundred

some

in

alabaster

arches

In

one

Other

round.

on

the

teenth
four-

represented

reliefs

Among

adorn

than

numerous,

Reliefs

wings

imitated.

the

of

if dressed

as

counties.

more

in

feathered

possibly

eastern

are

angels

feathered

which

those

are

later

the

for

Bosses

the

the

forms

figures
of

feathers,

the

be

may

with

influence

and

or

walls.

on

carved

with

that

or

the

1450

entirely

the

are

which

About

tights.
for

of

some

often

are

of

various

very

teenth
four-

have

angels

frequently

are

doorways,

over

elaborate

very

beasts

and

gargoyles
have

the

in

usually

exterior

numerous

centuries

Heraldic

monsters.

relief

The

they

occur

and

gargoyles,

rare

grow

the

for

monsters

or

bosses,

to

they

when

churches.

and

confined

Corbel-heads

spaces.

century,
fonn

chiefly

was

237

ENGLAND

IN

orate
elab-

cence
magnifithe

ture
sculp-

deteriorates.
The

tomb

chests

alabaster

work,

reliefs

influence

of

alabaster

or

"weepers"

of

not.

this

motif

the

On

of
is

seen

alabaster
as

late

monuments

whether
sides

"mourners,"

or

century,
of

and

they
of

usually
in
as

tombs
of

actually

were

fifteenth,

in

the

eighteenth

and

of

generally

were

stone

the

the

under

were

the

century

the

teenth
four-

survival
in

the

238

of

figures
Such

children

and

introduced,
London

and

carried
in

1400

northern

is taken

walls,

they

so

church

large,

too

that

large
its

even

furniture

it had

reliefs,

architectural
the

to

for

be,

the

misericords

Alabaster

and

Derbyshire

sharp

for

for

of

the

small

but

well

were

and
from

Its

was

and
their

in

choir
these

stalls,

also

seem

of

Some
reliefs

the

exhibiting

exported
even

that

to

the

to

all

Italy.
of

chests

tomb

ivory

to

of

admits

France,

style

reliefs;

already
the

it

to

derived

was

was

been

middle
of

ordinarily

triptychs

of

of

admirable

an

after

tablets,

form

parts

Their

has

used

form

grouped

were

has

southern

material,

easily carved,

extensivelv
in

excellent

an

it is

in

is found

finish, and
in

use

most

was

as

smooth

as

century

these

size;

Germany,

sculpture,

it

fourteenth

like, and

measure

as

is

Staffordshire,

coloring.

mentioned

if it

in character

work.

which

Alabaster,

"

in

small

cutting,

surface

and

small

This,

up

Wooden

their

done,

important

its statues,

similar

shop

ment
monu-

and

set

humor.

Reliefs.

especially

least,

at

part,

and

reredos.

and

numerous,

set

times
Some-

An

church,

period.

other

panels

shop,

shop

and

Kirkham

or

therefore

the
are

the

the

are

admirably

are

delicious

most

of

etc.,

most

in

in

They

sculpture

misericords,

chests,
to

made

were

setting.

other

built

in

set

the

1470

to

stone.

1500.

in

entirely

be

to

in

retable,

the

was

made

was

about

alsq

occurs

saints

is the

instance,
dated

(Devon),

Paignton

of

for

such,

"weepers"

canopies,

not

figures

also
about

1440

of

had

was

which

under

with

tion,
combina-

shops

the

about

but

stone.

carved

of

Figures

alabaster,

elaborate,

ver\'^

chests

Monuments
in

in

were

motif

was

harder

London

place

represented.

rare

effigy

at

if not

are

shields,

in

Alabaster

the

tomb

occur.

are

recumbent

part

is

the

tombs

these

other

On

also

against

On

holding

Annunciation

variations

where

York,

style.

places.

and

used

alabaster

alabaster

date.

earlier

an

copied

worked

parents.

materials

then

was

quarries

to

angels

by

other

the

at

the

marble

both

Purbeck

block

the

in

London,

their

of

tomb

where

alabaster

finally

together

the

at

Purbeck

and

the

as

worked

in

Nottingham

much

SCULPTURE

mourning

bronze

first

at

OF

originated

work

were

at

HISTORY

and

the

southern
in great

pictorial

and

SCULPTURE

MEDIAEVAL

anecdotic.

IN

relief

The
and

employed

add

to

found

in

Several

but

sets

cutting,
under-

and

effectively

work

such

of

where

definite

usual

the

to

continent,

much

freelj'

composed

England,

with

were

beauty

on

numerous

most

further

the

chiefly

exist.

gilding

polj-ptychs

and

Triptycbs

and

color

often

high,

was

239

ENGLAND

{Fig,

126).

tablets
are

they

now

have

must

been

still

specimens

fragmentary
of

the

developed,

were

scenes

of

the

which
are

and

Passion

Virgin

the

The

sets.

tablets

earliest

(1350-1420)

were

in

complete

selves,
them-

der
bor-

with

of

the

same

tablets

the

later

but

slab,

to

made

were

be

framed

and

sets

in

arranged

in

The

wood.

framed

great

retables

earlier

not

are

than

The

1450.

determined

dates

by

are

of

details

and

costume

Although
alabaster

of

the

tablets

at

is

London.

In

facture.
manu-

home

of

the

where,
else-

latest

some

rude

of

carved

doubt,

no

were,

and

style
original

was

many

especially
work

tricks

by

Nottingham

work,

the

also

ples
exam-

and

Such

inferior

tablets

summary.

have

fonned

the

stock

of

may

are,

art

at

of

any

the

not

rate,
last

of
years

be

to

the

regarded
fifteenth

hucksters

travelling

as

century.

examples

of

the

they
real

CHAPTER

MEDIAEVAL

Spain

their

influence

Louvre,

striking

most

differed

Spain

of

provinces

of

province
and

by
a

Spain

in

part
hands

the

of

resistance

they
fall

in
the

essentially

if

them

Spanish
of

art

but

is

be

to

make

to

few

the
which

merely

to

be

rather

sought

exist

eleventh

to

as

only

which

inspired

in

These

by

are

Byzantine

barbaric.
240

of

to

in

mental
orna-

patterns
is

sculpture
and

Spain,

is

sculpture,
raised

of

it

fine

decorative

carvings,
art,

with

as

Its

the

show

brought

Spanish

rude

was

art

brilliant

attributed

the

Spain

Christian

background

Christian

after

in

sculpture.
as

ally
gradu-

expelled

art,

classed

be

can

and

Goths

effective.

more

century.
be

be

may

coloring

works

seem

stucco

regarded

the

therefore

in

the

provinces

The

figure

no

last

Early

Moorish

Only

immediately

well-settled
of

conquest

remained

strength,

at

peculiarities.

affords

work

other

sculpture.

respects,

some

in

the

civilization

remains

few

be

to

Suevi

and

north,

almost

Roman

1492.

as

the

any,
no

back,

Roman

centur"%

extreme

gather

to

western

the

Alans,

eighth

But

began

same

and

Empire,
few,

Moors

Granada

of

the

Christians.

pressed

were

in

other

until

the

sculpture

a.d.

ruled
the

in

place

peninsula,

the

the

to

took

the

of

who

Visigoths,

which

century

Vandals,

by

overrun

the

by

Moors,

small

was

the

in

is

B.C.,

the

of

of

art

Elche,"

of

Lady

under

the

century

that

fifth

the

Roman

and

Spain^

Romans,

all, from
In

Empire.

conquered
the

if at

"

fifth

the

the

practised

the

the

Under

little,

the

this

of

probably

in

places,

some

Of

example.

before

settled

success.

work

in

SPAIN

Long

"

Greeks

natives,

some

IN

Century.

and

the

with

sculpture

of

Eleventh

Phoenicians

conquest

the

SCULPTURE

the

before

XV

while

there

only
before

time

of

some

others

are

242

of

artists,

two

belonged

to

one

the

This

remains.

Platerias)
more

school

of

advanced

than

Toulouse,

and

the

only

1140,

were

de

(Puerta

one

SCULPTURE

before

finished

which

portals,

OF

HISTORY

is

southern

clearly

the

other,

but

the

work
both
selves
them-

probably

were

men
French-

{Fig.
Some

127).

of

the

liefs

re-

are

so

placed

to

as

show

that

their

significance

was

understood.'

not

The

original
facade

western

replaced

was

the

in

eighteenth
the

by

century

exif-ting

baroque
but

construction,
the
la

"Portico

de

Gloria"

mains.
re-

This

is

vestibule

or

ing
extend-

narthex

the

across

front

western

church

the

(Fig.

128).

double

door

great
and

smaller

two

lead

doors
the

into

and

of

nave

the

side
The

aisles.

tire
en-

vestibule,
with
The

its

very

is

decoration,
elaborate

the

dearly

of

sculptures

"

or

this

porUI

work
the

belonged

of

one

doorway

origiDally

great

artist.
the

represent

to

the

northem

MEDIAEVAL

evangelists,

the

the

whole.

the

James,

No

Gothic

the

of

the

and
the
in

dignity

of

central

exhibit

Spain

before

not

life

Jesus,
of

theme

skill

such

such

in

dramatic
of

creations

great

forms

and

attitudes,

faces,

excellence

workmanship
the

equal
the

An

grandeur

composition.

inscription

the

date,

the

gives

of

name

Who

Matthew

this

was

do

we

know.

The

as

tico
por-

whole

has
in

prototype

no

but

Spain,

bears

resemblance

some

to

the

magister

Maihetts.

not

and

1 183,

artist,

the

porches

Chartres,
the

to

narthex

at

and

still

haps
the

at

more

Vezelay,

south

style

per^
to

more

porch

at

In

Bourges.
of

the

Toulouse

are

Provence

and

Spaniard

or

familiar

day.

The
in

short

in

lation,
Reve-

of

the

the

really

imagination,

rate

any

Moreover,

expressive

and

was

at

art.

the

of

these,

as

poetic

of

scenes

is

sculptures

243

SPAIN

twenty-foureldera

Jesse,

which

other
such

composition,
power

of

Tree

Judgment,

Last

IN

the

argelsandtheelect,

St.
and

SCULPTURE

time.

the

sculptures
most

with

province

but

France

the

chief

of

his
of

Galicia,

of

also

was

is
but

school

the

great

in

endured

of

Whether
who

artist,

his

of

movements

seen

of

styles

present.
a

artistic
work

the

features

are

Matthew

Frenchman,

of

qualities

marked,

northern

influence
the

the

several

only

ings
buildfor
a

244

HISTORY

and

French

recall

half

first
the
At

the

sculptures

of

the

of

sculptors

of

in

Old

Soria,

Poitevin

the

to

in

great
The

Avallon

is

church

the

the

of

This

and

much

of

the
In

sculptors.
imitated

the

is

imported

for

almost

instance

century,

the

Burgundian

of

example

of
of

whole

lower

part

reliefs

which

of

based

upon

Avila,

at

work

porch

and

V6zelay

is the

columns
the

date

developed

Vicente

in

which

school,

soon

statue

parts

unique

local

San

the

cases

of

uted
attrib-

earlier

thirteenth

sculptures

an

be

Vicente,

the

artists,
of

the

artists

Spain.

sculpture

Spain,

in

in

some

of

the

to

art

San

French

to

resemblance

teachings

of

of

resembles

can

Avila

work

Compostela.

Tomg

which

the

to

the

de

San

of

At

beginning

due

Burgundian

pure

the

be

Santiago

elements

of

marked.

of

which

belong

well

may

facade

artist.

measure

school.

the

contains

about

time

and

Spanish

sculptures

from
are

but

works,

only
of

Castile,

Leon,

at

Toulouse,

at

portals

side

Churches.

Isidro

San

Semin

St.

Various

"

of

century,

the

in

seen

church

twelfth

the

SCULPTURE

Influences

of

portals

side

The

Other

OF

local

of

France

were

Martin

San

at

Segovia.
At
of
in

in

Ripoll,

the

church

is

be

work

the

probability,
cites, do
of

the

taste,

by
by

though
offer

not

demanded

twelfth

that

of

of

San

of

Santa
to

and

symbols

In

this

of

that

due

than
work

they

without

careful

some

which

the

case,

any

front
French

Verona,

at

rather

profusion
date

not

is doubtless

facade

The

is

the

not

are

Bertaux

Zeno

parallel.

whole

Notre

of

products

of

the

wrought

reliefs

la Grande,

Dame

Miguel

at

Estella

Maria

la Real

several

schools.

those

resemble

t3rmpanum

S.

of

of

he

extension
to

Spanish
ment
arrange-

is toward

the

end

century.

fa9ade

that

the

M.

of

sculptors

reliefs

close

sculptures.

belong

the

which

The

Lombard
the

over

the

with

suggestion

of

reliefs

of
of

covered
The

appearance.

may

the

Catalonia,

the
the

of

of
the

The

beside

statues

of

facade

above

and

and
are

the

clearly

is recalled
still
the

more

tures
sculpway
door-

the

Chartres,
seated

(Christ

prophets,

Languedoc,
spandrels

Here

Sangiiesa.

western

evangelists,

and

(Navarre)

at

large figures

school
in

the

Poitiers,

at

between

apostles)

confused
local

the

and

work,

are

illas

MEDUEVAL

also

are

the

archivolts

SCULPTURE

(Fig.

Moorish

and

monsters

with

is

in

seen

covering

of

the

from

whole

surface

carving.
Tombs

SpoTiwA
peniuries.

Spanish

Eleeenth,

the

of

tombs

of

decorated

with

merely

the

twelfth

the

eleventh

thirteenth

few

FlODBB

139.

lines

and

with

are

simple,

scrolls.

Even

figures.

but

richer,

the

Real.

of

Tympanum,

Thirteenth

century

adorned

are

become

they

century

of

patterns

century

and

Twelfth,

"

in

the

cover

perhaps

derived

taste,

the

that

patterns

Spanish

129).

tradition,

checker

245

SPAIN

IN

the

In

number

of

SangDcsu

"

those

with

figure

magnificent
his

in

sisters,

with

school

gundian
similar

in

of

soul

of

reliquaries
reliefs

is

the

church

of

tomb

of

the

cathedral
the

the

Lugo,

of

of

upon

deceased

Limoges
tombs.

Spanish
of

San

sculpture.

style

the

of

templar

not

Far

which
to

less

and

One

of
the

those
church

but

and
covered

are

motif

not

somewhat
in

which
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the

bearing

seen

on

appears
in

uncommon

upon

Bur-

the

sarcophagus

This
is

is

recall

angels

heaven.

most

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Avila,

ornate,
is

two

enamel

in

at

St.

which

sculpture,

its

of

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reliefs

The

great.

very

reliquary

chiselled

delicately

very

the

them,

among

still

is

sculpture

it

the

appears

Magdalen

at

246

Zamora.

Here

tomb

is

in

relief.

barbaric.

The

recumbent

effigies

FlauRB

"

and

by

seen

is

1244,
Gothic

top

long

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side

others
at

That
in

Romanesque

the
the

of

the

the

many

of

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but

thirteenth
and
of

the

the

(Moorish)

the

monastery

tombs

{not
who

Magi

is

(Fig.

and

into
the

rude

of

Mvdejar

sculpture

Flight

with

Burgoa.

Berenguela,

century

some,

generally

royal

its

and

adorned

are

In

two.

are

form,

Annunciation
Adoration

in

sters
mon-

century,

attendants,

decorated
combine

with

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Queen

heavy

sumptuous

thirteenth

are

Burgos,

visitors).

style

of

and
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sarcophagus,

mourners

workmanship,

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on

The

on

covered

whole

the

above.

supported
are

the

the

of

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130.

dais

of

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wall

the

spandrels

tombs

Among

many

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cumbrous

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MEDIAEVAL

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248

Cathedral

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1257.

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250

workman
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Navarre.

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{1316-1354).
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the

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MEDUEVAL

SCULPTURE

Catalonia.
churches

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in

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ity,
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of

sarcophagus,

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Jayme

near

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Barcelona.

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shape

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at

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the

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tomb

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in

cover

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exhibit

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splendid,

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marble

high

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wall

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are

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though

rich

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were

of

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big
of

portal

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designed,
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(1458)

Fourteenth

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at

orig;in.
with

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museum,

lintel.

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at

the

by

1375

Catalan

of

Morey,

Guillem

skill

the

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local

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on

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technical

the

in

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cathedral

brother

work

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lack

the

portal

are

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Virgin

his

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finished
his

the

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of the

proclaims

draperies.

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in

was

of

sculpture

decoration

1278,

name

robust

In

similar.

its

whose

coarse

cathedral

the

about

style

are

the

does

261

SPAIN

independence

Tarragona,

at

French

figures

in

much

Castalys,

His

Catalonia

in

Only

"

IN

cia.
Valen-

Antonio

framed

by

252

arch.

multifoil
church.

de

the

Moorish

effigy,

by

and

is

rich

often

are

their

the

capilla

stiffness.
this

with

century

retablos

metals

of

and

materials

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Flemish

of

in,
is the

the

work

niches

in

the

its

four

Dijon,

This

tomb

two

was

in

Pampeluna
the

(died
tomb,

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in

was

1413)

exhibits

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possible
Such

Gothic

frames
made

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of

tomb

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work

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in

the

are

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the

1411,

finished.
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1416;

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are

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style

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and

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of

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angels,

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as

mourners.

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tomb

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monks,

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Lionel

way

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no

Janin

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Carlos

gentlemen,

among

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sculpture

Burgundy

"

teenth
fif-

the

King

of
In

movement

year

of

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there

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tomb

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mourners

cardinals.

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Tournai.

Dukes

In

"

cathedral

lie alabaster

sides

so

in

The

from

Lomme,

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nor

in

Century.

influence

queen,

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On

and

bishops,

his

Janin
the

214).

of

Fifteenth

French.

than

and

of

the

prevailing

rather

it resembles

(p.

in

Influence

Navarre,

of

Catalonia.

retablos

some

dignified

statuettes

with

reliefs

Other

figures

their

and

in

and

These

by

of

screen

delicate.

very

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was

only

with

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relief.

high

churches

the
of

wrought,

and

of

Toledo

statuettes

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of

century,

statues

finely

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gilded

century

in

combined

ture
sculp-

treatment

mixture

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alabaster
were

At

interior

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some

figures

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to

not

the

fourteenth

in

French
the

in

and

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sculptures

times.

large figures

sarcophagus

grief.

the

in

glass,

remarkable

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marble,

from

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of

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exception

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(1385)

monuments

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figures

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archbishop

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Luna,

Over

1382.

similar

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finest

SCULPTURE

OF

second

The

Fernandez

in

HISTORY

of
of

Philip

Navarre

free-standing
is

in

attributed

SCULPTXJRE

MEDIAEVAL

IN

253

SPAIN
.

to

Janin

Lomme.

in

1427)

and

works

his

school.
de

Berry

at

of

presence

artist

Janin

the

explain
of

in

of

flourished
of

the

the

in

cathedral

of

but

noted
and

Sagrera
also

was

vigorous

work

forms

and

where

he

tombs,

Juan

Jaime

Miquel,

He

which

the

sides

of

the

municipal

building

building
small

the

St.

Anton
medallion

are

which

and

on

Claperos,
in

the

the
as

the

is

cloister

old

fronts
sober

the

Picard

from

keystone

of

probably
the

Valencia

At

deputies

also

cathedral.

bourse

Sagrera's
and

Roland
At

France.
fountain
the

the

grotesques

were

the

and

imitate

1493,1mitates

decoration

family,

The

the

of

brother,

and

severe.

of

to

His

his

modern)

and

went

creation

of

of

ment
refine-

1453.

the

house

sculptors
its

of

August,

of

ample,

and

Spain.

are

and

1482

form

Laurent

George

of

more

but

in

their

artist

Francesch,

sculpture

(the

between

Palma,

at

angels

Germany

but

built

of

art

former
bourse

or

members

son,

known,
un-

The
Guillem

lightness

in

but

are

The

the
of

ciennes
Valen-

masters.

in

1450

by
his

of

Lotze

especially

and

the

end

continued

sculptures

Valencia,

the

was

was

the

of

have
In

before

Sagrera,

style,

but

portal

names

Flemish

are

draperies,

south

however,

the

the

sculpture

Vallfogona.

designed

In

mediocre,

real

are,

de

which

of

died

practised

Flemish

Aragon

themselves.

Naples,

splendid
and

Juan

sculptures

to

at

(Pedro)

architect.

peculiar
Naples,

of

the

as

"

Johan
is

them

may

Dijon.

the

whose

proclaim

sculptors

Pere

an

the

Palma,

works

the

chosen

of

by

came,

Possibly

at

Alamant

sculptors

whose

most

two

Enrich

the

Century,

Part

Ypres
and

Catalonia,

(Majorca),

and

northern

other

in

Jean

Pampeluna

was

Fifteenth

century.

Palma

of

Fearless

especially

fifteenth

of

Tournai

at

Huerta
the

the

and

Aragon,

(1393-1397)
later

in

tomb

Sluter.

helpers

John

Aragon

of

Claus

la

de

Duke

school

his

and
Juan

of

the

Lomme's

Mosselmans

Jean

of

that

to

that

tomb

Sculpture

by

the

and

inferior

some

Janin

to

(died

Espesa

and

style,

attributed

of

Lomme

fact

the

kingdom

style

Villa

de

Pampeluna

at

importance

its

Frances

similar

be

Bourges,

the
of

of

may

tombs

similarity

of

is also

These

show

(1433),

wife

tomb

Pampeluna

at

Due

The

St.
These

from

Barcelona

(1450)

George
are

is
in

by
a

spirited

254

reliefs.
the

The

Portal
But

in

the

sure,

Their

but

retablos

not

of

wings.

great

above

the
John

retablos

is

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and

retablo

latter

which

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and

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blue

The

gold.

Each

respect
rocks

and

trees

is

realism

retablo
St.

of

the

are

retablo

are

is the

those

of

of

natural

Transfiguration,

Veit

The

Stoss

size,
at

with
the

predella

Sts.

detail.
of

in

of

Ascension,

the
and
part

upper

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the

mense
im-

Paul,

(Hans),

the

The

with

draperies.
the

but

St,

the
Ans

heavy

statues

Virgin,

this

detail.

alabaster,

Cracow.

right

of

for

Saragossa

St,

Lawrence,

goldsmiths

German,

at

of

arabesques

colossal

the

at

after

pictures

in

At

great

1445,

resembling

care

carved

by

is

the

with

Sienese

representing

retablo;
the

richness

Giotto's

in

Vallfogona.

that

of

Flemish

imagination.

(1470-1480)

resembles

figures

by

and

the

martyrdom

landscape,

own

painting

Tarragona,

Thecla,

work

left

at

and

of

and

enlivened

de

The

of

August,

marvellous

with

finished

of

martyrdom

is

its

Flemish

like

the

(Juan)

that

reliefs

of

is the

Tarragona.

body

ill in

The

Florentine

like

are

are

fell

one

lives

larger

Johan

also

conversion

with

has
of

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the
Fere

Virgin,
(the

Still

at

and

him.

background

reliefs

foregrounds
work

of

Saragossa

scene

the

of

he

the

Valerius,

glass

Mota

predella

more

at

la

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represent
those

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of

by

1420

reliefs

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tion
propor-

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reliefs

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Fere
de

in

begun

St.

folding
in

higher

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no

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marble,

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by

of

and

previous

influence,

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those

Flemish
of

on

Saragossa,

we

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of

1426

of

to

with

splendor.

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strong

like

that

Mary)

the

Tarragona

to

flanked

carved

of

attain

larger

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carved

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(reredoses)

statues

in

and

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of

begun

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of

much

than

Oiler.

(Pedro)

St.

are

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those

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also

century

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are

width

the

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churches.

niches,

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the

of

in

the

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for

statues

wall

little

themselves

their

interior

differ

They

to

the

and

wood,

of

sculptm^

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and

reliefs

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Girona.

at

set

"mourners,"
;

in

still

are

century

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is

SCtJLPTURE

modelled

importaut

most

Catalonia

be

OF

sculptor

same

of

the

HISTORY

whose

alabaster
At
in

the
the

MEDUEVAL

middle

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imitated
in
New

Adoration

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Virgen

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relief,
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by

in

Mudejar

such

Fere

of

the

French

charming

in

Johan

de

Pedro

were

from

were

retablo

and

Navarre

the

imagers
or

ployed
em-

Flemish.

of

statuette

Franco-Fleming

by

or

an

training.
all

materials,

of

artists

much

Mur,
and

who

The
bear

the

ordered

Catalans,

in

practised

Catalonia.
which

Saragossa,
del

were

in

especially

Aragon,

cathedral

Archbishop

retablo,

is

of

was

century,

small

most

Saragossa,

at

sixteenth

brought

1420

French-Flemish
of

kingdom
of

after

Pilar

the

helpers

but

Lomme;

cathedral

of
kinds

stalls

Janin

work

superb

atelier

artist's
have

century,

Aragonese

the

that

the

may

the

The

from

who

of
in

This
in

255

SPAIN

Saragossa.

at

is

133)

Among

teachings

Ma^.
early

Pilar,

the

Navarro,

Miguel

IN

Fotment,

of

Vallfogona.

the

of

Damian

York

the

SCULPTURE

choir
of

arms

the

great
them

among

256

HISTORY

Gomar.

Francesch
stalls

stalls

and

work

In

in

Flemish

painted

stone

of

Orlando

(it

was

with

prophets

of

by

the

Castile

the

is
lies

effigy

the

of

the

chapel

The

of

oak.

Dona

in

by

1453)

style,

and

the

tombs

ably
prob-

are

de

Mendoza,

ornamented

with

Laurent

Dijon,
bearded

III

Aldonza

in

work

the

of

century

the

Franco-Flemish

tomb

of

tomb

at

first

the

the

Virgin

this

to

Alfonso

of

in

Oviedo

At

simply

Seville

At

(died

Cervantes

of

is

the

Flemish

Leon

Leon

belong

like

niches.

sarcophagus

which

and

artist.
tomb

on

of

their

"

and

did
splen-

German.

Leon.

Castile

fourteenth),

portal

same

and

cathedral

parts

mourners,"

the

in

(1457)

Longuer,

Castile

these

less

Bonafe

"Burgundian"

the

in

"

angels,

the

imitated

somewhat

Michael

by

also

is, in the

begun

The

in

appears

Anton

Martin

are

Work

century.

fifteenth

King

(1483)

German

German

and

brother

by

are

pinnacles

Flemish

his

Tarragona.

at

Barcelona

at

openwork

and

He

cathedral

in the

SCULPTURE

OF

whose
the

age
foli-

archbishop
of

Mercadante,

Brittany,

with

recumbent

its

is

prophets,
Henry
south
of
as

by

He

the
de

the

built

Carthagena

the

of

of

German

German

in

the

and

Isabella

style,

but

interesting,

and

which

in
is

in

sculpture

and

Nevertheless,

in

rather

the

the

probably

ish.
Flemin

at

bishop

tomb

little

than

cathedral

The

1456.

the

beginning

the

figured
dis-

1442,

Burgos.
of

Alonso

itself, with

work

of

Juan

or

its
some

companions.

Mediaeval

teachings

towers

of

chapel

buried

was

reliefs
his

openwork

Cologne),

(John

and

style

well

as

much

are

statues

the

Portal

Aleman

portal

in

of

(John

Juan

the

German

the

sculptor

was

the

of

but

are

Colonia

two

also

door

he

worked

sculptures

finish

to

constructing

that

Toledo

At

style.
employed

by

him

of

miniature

and

angels

was

cathedral

"restoration,"

above

Juan

built

Egas)

it is probable

The

little

"Burgundian"

Alongside

German).

figiwes

the

and

Lions,

the

(called
of

architect.

the

in

quite

transept

the

effigy,

Eyck

van

its

is

it

is in

great

after

Spanish

part
taste

the

taste

is

dependent

actually
affects
union

makes

of

the
even

Spain

itself

more

often

and

plentiful

largely

very

Spanish
period

Spain

foreign

upon

work

of

very

foreigners.

those

foreigners,

under

Ferdinand

evident.

258

HISTORY

Late

the

sculptors
and

the

Luca

by

and

1550

of

Giovanni

Bologna.

eighteenth

centuries

The

The
is

Angelo

great

Donatello,

the

of

portant
im-

Boulogne,

the

continuation

is

most

Jean

is

sculpture
a

three

Renaissance

Developed

Renaissance

Late

the

and

1550,

to

Gl^iherti,

are

Michael

of

genius

the"

1480

1630.

to

tEe

Robbia;

sculptor

about

Renaissance

Early

della

dominated

called

about

Renaissance,
of

SCULPTURE

Renaissance,

Developed

the

1480,

OF

seventeenth

of

of

that

the

Renaissance.
Ghiberti.
like

most

His

stepfather,

him

the

of

of

knowledge

from

The

his

painter,
but

frescoes,

in

in

commission

the

representing

of

Andrea

partly

the

This,

however,

berti

was

signed

the

door

medallions
tors

of

panels

the

vines

New

Testament,

Church.

In

cross

and

reliefs,

are

these
flowers

the
of

busts

of

of

great

work

of

beauty.

the

of

tract
con-

this

at

twentyrepresent
lowest

eight
and

four

door-casing

Doeof

frames

sibyls.

the

Grhl-

the

are

the

In

door.

with

which

the

good

so

steadily

of

the

was

his

wards
after-

who

There

and

the
of

Although

where

reliefs

the

contract

Evangelists

prophets
and

work

1424.

corners

frames

the

while

the

relief

excellence

in

twenty

tistery.
bap-

obtained

time,

the

the

Abraham,

as

his

to

until

with

figures

shape

1403.

was

finished

contain

of
of

23d,

the

by

of

and

do,

to

Ghiberti
not

the

from

scenes

share

some

bronze

was

for

Brunelleschi,

by

to

paint

Ghiberti

architect

November

was

and

he

of

Isaac

technical

the

offered

refused

medallions

eight

of

him

that

specified

of

known

are

compete

in

of

such

to

years

doors

191).

p.

used

to
to

from

least,

at

early

hand

size

greatest

he

to

Rimini

sacrifice

(see

wished

judges

his

to

same

relief

In

bronze

was

the

the

became
the

second

accoimt

on

though

casting,

task,

of

Pisano'sdoor

contract,

that

the

and

life

Florence

to

interrupted

be

to

was

went

competitor

Each

rudiments,
he

was,

Florentine.

goldsmith,

Ghiberti's

journal.
he

time,

which

of

returned

make

the

events

his
a

working

1400

1401

to

which

metal

chief

and

of
was

gained

published

own

Michele,

doubt

no

advantage.

di

Bartolo

(1378-1455)

Ghiberti

sculptors

important

Ghiberti

that

(di Cione)

Lorenzo

"

The

the

mentation
orna-

consists

medallions

of

SCULPTURE

OF

Ghiberti

door

this
added

followed

and

grace

(Fig.

he

to

the

style

between

adopts

the

figures
of

violent

efTects,

so

and

do

not

the

greater

they

but

his
In

only
he

1409

in

the

of

and

in

mentions

was

arte

goldsmiths,

other

mitres,

erection

was

of
in

painter

the

works,

existing
the

and

began

The

St.

statue

the

Stephen

of

of

his

of

St.

St.

John

Matthew,
is

later

St.

in

Pope

Martin

Ghiberti's

for

(1428).

In

these

that
His

painting.
In

Or

San

finished

was

on

enrolled
shows

sculpture.

Baptist

appeared.
dis-

carry

was

which
in

of

which

he

{1419),

have
to

1424

Luke,

among
V

commission

works

the

gold,

which

of

interest

earlj'
are

works

in

of

corporation

however,

and

cathedral,

relinquished

never

Pnnels

both

(1439),

member

the

for

one

IV

Eugenius
He

several

journal

his

for

-Four

he

elaborate

two

did

by

are

means

inscribed

he

of

part

well-spent

works.

he

of

absorbed

Ghiberti's

pear
ap-

work.

doors

two

baptistery

as

mous
fa-

early

the

the

avoids

in

more

this

The

the

he
;

perspective

door,

them

vivacious

of

sjTiimet-

important

later

the

attitudes

ment
move-

figures
The

no

fully

yet

ment
arrange-

rical.

life,

of

his

simple,

in

those

as

and

types

than

and

composition

his

The

new

costumes

Ages
not

an

adds

The

is

creased
in-

as

who

one

architecture

rather

grave,

are

his

of

as

Middle

antiquity.

and

appear

artists.

the

of

his

of

study

scenes

is

not

but

earlier

those
and

on

his

does

but

Pisano,

composition,

are

Renaissance,

based

He

degree,
of

Andrea

of

134).

any

the

of

style

259

ITALY

IN

richness

marked

in

excellence

the

variety,

liveliness
innovator

RENAISSANCE

THE

statues

1414

Michele,
in

1422.

pro-

260

refinement

gressive
but

there

is

little

these
The

already

are

April,

third

door

of

the

which

135).

In

of

arrangement
from

follows:

as

Isaac,

Tablets
David
As

with

figures
frieze

the
in

which

other
are

of

edges

powerful
the

of

beauty

of

the

in

be

It

is

the
and

and

therefore

the

Ghiberti
of

the

art

the
own

persistence

in

landscape,

and

of

art,

ancient

qualities
and

love

but

for
the

it has

of

effects

painting

criticised

admiration

and

wonderful

are

perspective

sculpture

his

and

exquisite

expressed

of the

which

in

genius

been

and

prophets

remarkable

and

ing
charm-

border,

most

but

scene

beautiful

fresh

of

each

Ghiberti

influence

this

About

figures,

has

and

is

9,

Sheba.

of

in

of

the

the

Jericho

medallions

the

and

animals.

panels

effectively

Abraham

panel,

the

landscape

panels

Queen

them

Ghiberti's

that

true

bounds

and

of

Here

to

of

statuettes

display

seen,

Fall

door-casing

and

reliefs

is

7,

Moses

the

elaborate

taken

Expulsion

4,

though

small

charming

due

easily

more

work

their

are

relief, and

of his

the

and

each

and

the

from

square

whole,

among

figurines

Donatello,

work

beauty.
can

of

an

architecture.
of

On

persons,

and

work,

also

as

containing

various

ten

the

in

characters,

These

impressive
and

is

Testament

busts

and

united

arranged.

doors

the

(Fig.

subjects,

Noah

3,

and

are

grouping

in

the

diso,"
Para-

1452

also

The

Joseph;

6,

del

and

style

Solomon

10,

niches,

stepfather.

in

the

are

Old

Abel

foliage, fruits, birds,

of

del

for

until

door.

Joshua

scenes

well

are

in

"Porta

"Porta

Temptation,

and

8,

the

art.

commission

arranged

Jacob;

Goliath

interferes
the

Cain

Law

several

the

Creation,

and

the

rule,

The

2,

spects
re-

picturesque

the

concern

from

departed

are

Esau,

and

chief

Testament,

of

his

Pisano's

1,

the

of

the

called

Andrea

Paradise

from

5,

Old

the

be

to

he

this

of

the

received

baptistery,

was

other

ordered

were

some

St.

present.

Ghiberti

1425,

in

the

mediaeval

to

reliefs

the

of

but

Siena

at

these

In

1427.

discernible,

drapery

almost

font

the

is

style

statues,

belong

distinguish

*'

Paradiso
In

in

of

The

Roman

in

panels

which

qualities

of

figures

finished

and

them.

in

new

fine

SCULPTURE

simplification

that

bronze

two

1417

and

resembles

Stephen

OF

HISTORY

than
stepping
over-

beauty
aroused

SCULPTURE

THE

OF

FioURB

The

135.

RENAISSANCE

Porta

del

IN

Paradiso,

by

261

ITALY

Ghibecti.

Florence.

"

surely

may

though
to

the

Among

the

serve

as

attempt

talent

of
the

lesser
other

ample
to

justification

follow

in

his

for

bis

course,

has

footsteps

been

even

fatal

artists.
works

of

Ghiberti

are

the

magnificent

shrine

of

similar
But
His
did

St.

but
his

HISTORY

Zanobi

the

the

produce

St.

of

doors

improved

and

between

in

di

whose

Betto

the

form

to

something
early
and

in

his

is

number

of

be

nine

marble

and

13("),

the

is

protot,\pe
142:?

Donatello

the

perhaps

made

life.

four

statues

cathedral

its

figure

in

now

It

measure

San

solute
abJohn

St.

Between
Or

(Fig.

them.
in

for

One

The

seated

Moses.

are

years

for

among

Angelo's

those

Zuccone

finest

certainly

selection

the

admired

served

that

great

Florence,

at

The

early

so-called

Evangelist,

of

Among

for

especially

his

influence

small

his

to

In

so

here.

truth

the

is

campanile

these,

but

marked.

statues

the

of

the

to

preponderates,

works

belong

not

art,

especially

mentioned

which

is

different.

works

his

of

antiquity

which

comparatively

can

of

realism

late

antiquity

only

and

the

di

study

mediaeval

new

years

careful

style

of

the

1386?-1466),

study

(Donate

Bardi,

continuation

Michael

of

art

different

the

and

unite

for

the

Donatello

works

nature

and

and

Very

of

NiceolS

1421,

prede-

Renaissance.

character

in

his

temporaries,
con-

intermediary

an

art

"

completed

of

served

DoruUello.

is

He

his

upon

works

mediaeval

the

cathedral,

baptistery.
pioneer.

it

as

the

Bai^llo.

the

force
the

the

the

or

upon

cessors

the

of

innovator

or

and

in

Giacinto,
the

the

Florence

at

Renaissance

he

but

of
remain

that

not

was

SCULPTtJllE

cathedral

shrine
works

greatest

not

in

smaller

genius

OF

was

the

as

and

1410

Michele

St.
"

Peter,

St.

Bargello),

Mark,
of

famous.

Several

St.

which

Louis,
the

of

St.

his
numerous

belong

to

this

period.

and

George

St.

(now

George
is

the

deservedly

figures

of

in

St.

John

the
most

also

SCULPTURE

In

OF

from

the

with

regulated

at

the

of

monumental

at

Naples.

pulpit

of

The

Loft,

but

the

for
is

the

the

Donateilo

time

after

his

Donatello
the

shows

forms

of

loft

137).

brief
in

baptistery
(1427)

for
is

Michelozzo,

by

in

the
Both
in

the

putti

del

Opera

are

sculpture

and

the

first

was

in

his

among

the
of

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oompositionH,

introduce

most

the

of

attitude
with

these
and

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or

little

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withof

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Renaissance.

delightful

and

elements

characteristic
Italian

belong

(1432-1433).

Rome

which,

Duorao)

works

these

variety

charming

(1433-1440)

"

wings,

in

famous

the

cantoria

or

sojourn

children

the

D'MI

(now

(Fig.

the

Brancacci

framework

by

choir

Florence

at

by

them

action

famous

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cathedral

entirely

to

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still

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tion.
decora-

among

(1433-1439)

Prato

at

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well-

them

belong,

(1426-1429)

XXIII

tomb

whose

composition
works

the

Ni!o

but

subordinate

to

many

John

and

Angelo

reliefs

of

associated

v/aa

geiiius,

great

no

263

ITALY

Donatello

Donatello

period

Pope

Florence

St,

needs

this

of

was

IN

1436,

to

taught

the

To
tomb

who

nature

to

RENAISSANCE

1423

years

Michelozzo,

genius

THE

freely

persons

them

so

much

264

endowed

or

the

medaUions

the

Medici

them

with

OF

such

of

San

church

bronze
the

in

trousers

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time

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At

almost

the

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choir

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the

church

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the

famous

of

bronze

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but

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independent

the

St.

equestrian

Gattamelata.

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the

and

and
of

assisted

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.-Vnthony

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bronze.

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in

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modelling
in

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about

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marble^

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Rome

j Up

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stone,

works,

departure.iln
for

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return

1443,

the

of

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many

the

of

court

Judith

of

Annunciation,

between

138),

door

group

belong,

the

bronze

with

The

(Pig.
in

the

he.

as

cameos,

bronze

the

Croce

Santa

charm

David,

(probably)
of

of

Cupid
anciept

Lorenzo,

and

Holofemes,

variety

from

the

palace,

SCULPTURE

bronze

original
copied

sacristy

in

HISTORY

and

delightful

the

as

ists
art-

and

realistic

mirably
ad-

Crucifixion,

executed

the

of

most

of

the

choir
the

the

Donatello's

the

and

influence

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great

the
in

ancfent

art

equestrian

of

The

statue

chief

these

of

statue

the

St.

reliefs

139)

are

exhibits

the
of

independence
Madonna

the

the

face

the

since

bas

he

In

in

donna,
Ma-

the

(Fig.

nature.

appears

the

Louis,

modelling,

of

expression

antiquity.

of

all
in

study

St.

Gattamelata

In

freedom

careful
of

but

first

and

ease

tradition,

the

work.

own

greatest

and

altar,

high

sculptures

screen,

the

Francis,
of

other

hair
is

and

quite

dress,
headunlike
the

Gattamelata,
fall

of

the

Roman

of

altar

San

HISTORY

OF

in

Lorenzo,

SCULPTURE

Florence.

He

died

December

15,

1466.

Donatello

is
His

they

the

the

nude

human

form

in

the

his

the

in

it

the

and

rative
decosance
Renais-

is

Renaissance
with

Ghiberti,

his

offered
mediaeval

transition

art

from
of

that

-to

the

Donatello,

Renaissance
;

thinker

original

beauty

workmanship,

gentle

of

sense

excellent

in

due,

importance

in

motifs

unsurpassed

and

the

the

ornamentation.

his

the

him

least,

classical

in

to

of

became

of

at

forms

putti

sculpture

of

excelled
so

element

part,

represent

who

was

life.

was

to

that

constant

was

study

representing

children

and

art

chief

he

but

beautiful,

Renaissance

round

sance.
Renais-

Early

ancient

but
of

sculptor

the

from

studied

thereby,'

first

of

far

He

vigor.

influenced

sculptor

sometimes

are

lack

was

original

great

works

never

greatly
He

the

and

entered

at

the

bold

vator,
innointo

once

the
,

Renaissance

and

fully

com-

pletely.
Luca

delta

Robfna.

Luca
"

della

and

original
art

thus
first

but

Donatello,

than

in

between

measure

attested

work

made

1438)

is

the

for

the

realistic

more

his

two

less
in

dramatic

choir

or

and

his

stands

Ghiberti,

His

fellow-citizens.

great

Florence

at

less

than

marblecantoria

cathedral

(1399-1482),

Robbia

gallery
in
now

the

(1431Opera

del

(Fig.

Duomo

in

psalm

and

first

in

corresponding

last

the

to

others
are

boys

panels

ten

singing

are

panels,"
and

the

The

140),

the

words

playing

the

illustrate

boys
"praise

instruments

(the

ye

"

the
and

150th

halleluiah

Lord"),
(in

one)

SCULPTURE

OF

and

therefore

are

of

two

the

them

the

of

Luca's

reliefs

in

(1441-1443),

FiODRE

His

the

on

of

altar
with

its

the

other

and

in

marble

reliefs

Peretola

tlie

Altarpicce,

by

Luca

the

Federighi

Robbia.

dclla

for

tabernacle

and

lunette,

five

are

(1437-1439),

terra-cotta

of

purity
lar
popu-

works

(1439),

componi-

and

famous

on

though

of

faces,

most

campanile

Pietro

S.

TciTB-cotta

141.

reliefs

angels,

as

of

stand

boys

excellence

beauty

these

works.

marble

The

attitudes,

panels

regarded

267

ITALY

The

psalm.

winged.

make

feeling

IN

be

to

are

of

grace

religious

the

in

as

clouds

tion,

RENAISSANCE

commanded

dancing,

only

THE

Peicia.

"

tomb
works

The

known

except

of

glaze
many

Luca

which
works

door

these

he

of

works
those

Luca

was

invented

of

himself

of

of

in

glazed

and

terra-cotta

to

are

fact

in

their

glazed
cially
espe-

universal,

colors

with

brilliancy.

distinguished

and

127,

sculpture,

the

covering

adds

cathedral

polychrome
in

enough,

conunon

them

color

relief

the

number

are

of

the

bronze

master.

Robbia

protects

of

sacristy

the

shows

use

method

and

(1445-1452)

della

The

141).

His

terra-cotta.

mentioned

already

terra-cotta,

glazed

prophets

the

all

(Fig.

terra-cotta

but

of

In

Florence.

all

of

heads

{ 1464-1469)

panels
in

the

are

in

framed

(1455-1456),

for

His

beauty

268

HISTORY

and

form

of

color,

The

Ghiberti

of
Ser

Giovanni,

the

later

exhibit

works

sometimes

to

della

Andrea
Luca's

1528),
"use

the

of

his

uncle

in

he

career

his

reliefs

School

Girolamo

and

in

terra-cottas

Novella

at

his

where

Besides
his

deserve

century
are

whose
colored

Donatello,

and

are

terra-cotta

reliefs

In

but

of

the

whose

Madonna,

Maria

work,
The
esting
is inter-

however,

went

was

France,

to

of

work

terra-cotta

Paris.
Robbia

della

the

of

these

to

still others

and

especially

works,
are

and

fifteenth

addition

known,

are

S.

Mattia,

sculptors

names

recorded,

not

Luca

mention.

whose

more

of

Florentine

other

especial

many
names

outside

glazed

father's

sons,

the

was

Andrea,

inferior.

Fra

youngest,

just

Madrid,

several

are

production

Ghiberti,

school,

there

Girolamo,

de

productions

the

in

font
his

Andrea's

di

produce

to

by

Giovanni

Luca

resembles

of

none

Foundling

sons,

The

(1527),

best-known

Ch"teau

the

Montecassiano

artist.

great

later

of

Florence.

continued

Giovanni,

attractive

and

in

century.

numerous

very

altar

high

next

by

(1497),

his

but

the

charm,
haps
Per-

the

of

Ambrogio,

(1488-1566),

and

his

important,

Andrea's

Fra

of

of

most

most

"

Mattia,

Fra

(1469-1527J,

the

Robbia.

Della

those

grace,

medallions

the

towns,

sentimental.

hardly

Innocenti)

degli

the

of

in

smaller

throughout

somewhat

though

(1437r-,
extended

resemble

beauty,

great

are

infants

(Spedale

Hospital
The

the

are

of

works

known,

and

of

parts

and

the

works

early

though

Robbia

of

the

Florence.

near

freely

many

dignity,

reliefs

larger

della

to

teacher;

details,

or

more

di

Usually

for

in

are

color

His

simple

latest

best

the
his

their

first

similar

Andrea

used

Tuscany.

Leonardo

his

glazes

works

terra-cotta

produced

though

his
"

nephew,

in

especially

colored

Robbia,

glazed

and

eyebrows,

all

goldsmith
been

ence
influ-

the

independence.

more

eyes,

Nearly

the

gious
reli-

pure

show

them

have

to

employs

Luca

surface.

the

said

is

of

and

dignity

among

perhaps

who

their

for

as

earlier

and

is confined

color

well

as

sentiment.

SCULPTURE

OF

often

of

siderable
con-

merit.
Nanni
SOD

at

di
the

Banco.
Antonio

Nanni

di

Banco

"

who

worked

with

(1374
Niccold

?-l
di

420),
Piero

the
in

SCULPTURE

OF

decorating

the

Philip

(about

in

are

of

group

is

of

or

the

the

all

by

these

St.

Eligius
St.

Luke

heads

the

four

"Ji

Nanni

St.

seated

of

group

Virgin,

his

than

His

and

?),

In

older

him.

by
(1408

Michele

cathedral.

AABumption

142.

San

Under

expressive.

FlQDiu

influenced
saints

269

ITALY

196),was

(page

four

Or

the

in

IN

Mandorla

greatly

niches

1415)
and

della

wbs

(1407?),

(1415)

fine

Porta

but

Dotiatello,

RENAISSANCE

THE

saints

Banco.

are

is

an

Florence.

"

interesting
the

representing

relief

(Fig.

Assumption

which
the

of

manner

beauty

have

to

seems

3ficAefo"o.

the

over

his

occupied

Orcagna
but

charm,

and

142)

and

last

produced

mediaeval

Michelozzo

sculptor's

Porta

in

as

an

architect,

Michelozzi

was

also

Mandorla,

Nanni

work

of

followed
remarkable

style.

"

known

della

years,
a

In

workshop.

sculptor,

(1396-1472),
who

worked

best
with

270

Donatello

and

both
works

di

Agostino

He

SCULPTURE

and

as

though

Ducdo.-

excellent

possessed
worker

of

strikingly

not

di

Agostino

technique,
and

stone,

his

original.

Duccio

(b.

1418;

d.

much

in

"

1481)

was

banishment,
in
of

his

of

Donatello,

works

Modena,

the

and

rich
of

oratory

San

by

Perugia

at

marble
is

employed,

important

most

the

of

colored

are

his

mannerism.

facade

which

terra-cotta

genius

to

Bernardino
in

of

sculptures

rises

never

beautiful

(1459-1461),
and

His

offends
and

outside

part

most

he

sometimes

The

lived

Perugia.
but

animation,
and

He

for

are

Rimini,

and

grace

are

pupil

and

Florence,
full

others.

attractive,

are

after

OF

bronze-caster

as

HISTORY

haps
per-

(Fig.

work

143).
Deaiderio.

Desiderto

da

Settignano

"

is

(1428-1464)
of

his

His

the

of

and

of

sculptor

Bernardo

of

note,
works

Matteo

better

though
still

are

the

masterpiece,
brilliant

realism
Rossellino

tomb

in
is

of

which

softened,
(1427-1478)

was

the
the

style

in

without

in

first

Santa

Donatello's

as

the

much

of

sculptor

early
but

his
is

Croce,

immediate

uncompromising
its

losing
at

would

His

character,

innovator's

great

was

Bruni,
of

architect.

an

Leonardo

infant

(1409-1464),

mediaeval
of

of

talent.

distinguished

as

busts

reputation

his

Settignano,

known

somewhat

example

successors,

of

his

enzo
Lor-

busts

Rossellino

Gambarelli,

Santa

San

the

portrait

are

in

and

"

son

and

works

reliefs,

establish

to

taste

light'*

in

Baptist
his

suffice

his

Marsupini,

small

the

chapel.

exquisite,

tabernacle

his

John

alone

to

Pazzi

important

most

the

but

Jesus,

the

work

Carlo

and

St.

in
is

graceful.

he

ornamental

pure,

Croce,

pupil

seems

workmanship

tomb

as

whom

collaborated

His

Rossellini.

regarded

with

Donatello,

have

The

also

vigor.
influenced

Antonio

by

his

SCULPTURE

OF

brother

elder

date

the

Portugal,

in

the

del

Opera

produced

Mino

church

Fiesole.

friend

intimate

most

His

works

in
many

given

his

of

profound

of
and

the

altar

in

Matteo

the

church

Civitale,

1501)

though
but

by

not

to
mere

distinguished

are

rather

Most

than
of

the

for
the

for

Florentine

in
the

works

freshness

expression

than
of

school

and

at

Naples.

of

Lucca
is

in his

native

angel
is

work

(1435a

follower,

Rossellino.

Antonio
are

finest

and

those

technique
His

his

Oliveto

of

arrangement

delicacy

Civitale

of

the

numerous

Perhaps

Monte

imitator,

technical

in

(1442Desiderio

and

composition.

Florentine

all, of his

means

no

and

of

in

less

equal

they

Matteo

"

belongs

far

admirable.

especially

are

of

general,

Majano

former

latter

are

animation

in

the

the

works

which

Fiesole,

surpass

figures

and

their

Rossellino

excelled

His

exercised

originality

and

da

Antonio

Florence,

vigor.
artists

excellence.
Benedetto

"

with

sentiments

da

number

He

the

by

not

ness,
gentle-

few

yet

he.

merous,
nu-

more

and

energy

than

II.

very

their

all

rapidity,

Rome,

great

Majano.

in groups.

Mino

in

Pope

exhibit

with

they

Paul

are

lack

tombs,

of

Some

144).

finish

more

their

worked
and

Naples

ease

of

as

1475-1481,

elsewhere

and

the

Rome

number

general,

distinguished,

da

at

great
marble

by

very

who

in

especially

but

not

figures

the

Ghiberti's

of

about

tomb

and

dignity,

even

their

Benedetto

1497),

of

Antonio

visited

again

the

(Fig.

but

others,

with
to

works,

though

in

(1431-1484),

made

is

which

tombs

and

and

Dalmata,
of

of them

influence,

great

relief

those

Settignano,

1463,

Florence,

than

worked

da

Rome,

sweetness,

have

inality
orig-

John,

Naples,

Fiesole

da

about

Giovanni

important

animation

Mino

St.
the

at

rivals

which

Mino

"

again

he, with

when

In

of

and

grace,

little

Oliveto,

Cardinal

the

vigor,

charm.

of

relief

of

His

Monte

Desiderio

of

1454,

the

of

picturesque

da

as

is full

independence

Paradiso.

del

early

tomb

which

in

combined.

Duomo,

the

in

Nativity,

Porta

Miniato,

admirably

are

complete

beautiful

the

of

San

271

ITALY

IN

exhibits

but

Bernardo,

1461,

by

RENAISSANCE

THE

Many,
city.

earnestness

of

They
feeling

perfection.
sculptors

after

Donatello

were

"

272

HISTORY

OF

SCULPTURE

274

created,

them

the

marble

of

of

San

Piero

and

(about

in

the

di

Luca

and

fountain

Lorenzo,

Palazzo
Pitti

1465)

in

Vecchlo,
(Tuomabuoni,

Medici

Giovanni

dei

several

portrait

Colleoiii,

David

SCULPTURE

the

bronze

among

monument

sacristy

OF

HISTORY

the
and

by

Bargello,
the
d.

the

bronze

Veoicp.

the

Boy

with
of

monuments

1477)

the

busts,

Vermcchio.

in

(1472)

and

Cardinal

Fish
a

Francesca

Forti-

SCULPTURE

(d.

guerri

1473)

and

in

1465

to

Venice

in

and

set

is,

Verrocchio

is considerable.
his

workmanship,
charm

his

of

CoUeoni

is

than

animated

and

of

artist.

without

his

the

his

the

of

the

of

A.

of

More
also

more

alone

sculptors

great

Marquand,

Archaeology,

XIX,

his

"The

1915,

work

Tomb
pp.

his

still

is

his

to

in

1406.

the

of

of
24-33.

this

Ilaria

but

far

more

in

his

but

in

the

spirit

of anatomical
his

to

ues.
stat-

him,

to

del

Carretto,

This

tomb,
is

lady,
the
and

Apart

Carretto,"

American

ascription
certainly

delicate

sculptor.
del

and

deceased

questioned,^
is

figures,

ascribed

erected

effigy

his

of

lack

Ilaria

been

original

superior

refinement;

has

most

figures

of

of

Quercia

mediaeval,

powerful

tre
cen-

cities

della

draperies,

tomb

effigy

recumbent

the

of

chief
other

the

lines

currently

is the

probably

Quercia

far

generally

work

but

curving

he

are

and

the

Jaco[X)

Owing

Vasari,

was

other

any

reliefs

beauty

della

the

of

recumbent

great

style

that

of

which

Jacopo

to

The

work

was

and

folds

clumsy

known

authority

esp)ecially

in

is manifest.

earliest

Lucca,

work

the

Siena

At

knowledge

Renaissance

The

at

is

This

Florence

"

important

most

animation

and

knowledge,

on

exhibited

statues.

Renaissance,

Early

decoration,

anatomical

vigor

the

almost

thick,
of

of the

and

beauty

David.

it

among

Qtiercia.

sculptors.

is the

In

the

the

in

sculpture

(1374r-1438)

lack

della

Jacopo

not

in

bronze

finished.

The

Renaissance.

Siena,

were

The

excellent

admirably

equestrian

Verrocchio

place

to

his

the

Gattamelata,

perfectly

cast

collections,

for

and

are

all

of

Donatello's

various

nature,

delightful

finest

more

suffice

the

of

the

in

which

and

vigorous,

perhaps

theatrical

would

of

study

figures, qualities

graceful,

the

careful

1488

work.

distinguished

is

in

Leopardi.

Verrocchio's

scattered

condot-

finally

was

Alessandro

works,

the
died

he

which

called

was

of

but

ordered

was

statue

145),

essentially

lesser

his

Verrocchio

work,

the

Venetian

however,

of

number

of

the

by

1479

Christ

of

group

Michele,

(Fig.

275

ITALY

San

equestrian

CoUeoni

up

statue

In

the

completion

bronze

Or

1483.

undertake

to

the

before

in

in

finished

of

niche

IN

The

Pistoia.

Bartolommeo

tiere

RENAISSANCE

THE

at

Thomas,

St.

and

OF

than

from

Journal

this

of

276

HISTORY

OP

tomb

his

Gaia,

1409-1419)

at

in

baptistery

the

font

of

St.

of

Zacharias

of

San

the

four

John,

Petronio,

reliefs

sides

from

FiocRB

the

the

Portal

146.

of

most

this

on

(Fontana

the

and

the

the

Petronio,

and

his

is

lintel

Bolosna,

by

port^al
The

146).

work.

greatest
low

are

relief

the

Fig.

portal

statuette

bronze

his),

are

destroyed,

part

(1417-1430;

temple

and

San

fountain

(1425-1438;

of
door

the

prophets,

Bologna

at

of

for

Siena

of

the

are

now

at

decoratitm

^e

At

Siena,

driven

sculptured

works

important

most

SCULPTURE

reliefs

delta

Jacopo

repre-

Querois.

"

senting
in

the

from

scenes

lunette

are

carved

Petronius,
works
Michael
Other
Antonio
Sassetta

1412-1480),

seem

the

life
of

figures
in
to

of

the

St.

Christ

from
the

Anthony,

round.

have

and

These

exerted

Virgin,

and
and

powerful
little

no

and

Genesis,

influence

St.
matic
dra-

upon

Angelo.
Sienese

Other

Sculptors.

Federighi
(working
Turino

(ca.

Sano,

son

di

are

Stefano

Vecchietta

Lorenzo
his

sculptors

Giovanni

1425-1490),

1466-1499),
di

Sienese

"

Giovanni

{ca.
di

Turino

SCULPTURE

(d.

OF

Cozzarelli

these

of

None

della

Jacopo
influence

best

(after
works

bronze

angels

Siena

at

di

is

Sienese

the

School
the

in

Padua

at

doubt,
but

in

they

lack

as

the
own

sentiment

in

the

these

and

church

typical

of

qualities

the

ot

also

practise

but

da
is the

terra-cotta

others

importance.

the

in

of

the

of

of

centre

the

dramatic

The

influence

their

the

painter

of
the

's

partly,
Man-

Their
the

fine, rather
later

lack

the

Paduan

of

sharp

style,

of

the

were

ants
assist-

master.

power

in

art,

Donatello's

Donatello's

and

or

Donatello

naturalism,

itself, and

assistants

his

after

of

art

demanded

Paduans

even

strongest

was

of

because

exhibit

aim

an

Some

presence

employed

was

which

important

an

freshness

and

Giovanni

Several

cathedral

of

were

and

places,

creations.

Mantua

originality.

artificial.

works

others

characteristic

widespread,

assistants,

hands.

bronze,

in

drapery

master's

little

the

numerous

the

Donatello

extensive

measure

to

beauty

of

of

his

Ansanus

somewhat

of

"

Florence,

great

chiefly

folds

Dotwiello.

account

on

for

was

St.

in

altar

example

remained

continued

care

but

His

of

other

Padua

departure

works,

is at

Perhaps

little

tenderness

many

from

from

attracted

tegna,

Giorgio

of

of

him

with

no

di

creation

collaboration

came

He

art.

Padtum

The

Francesco

attractive,

testify

Vecchietta's
show

some

works

is his

figures

but

ornament.

exerted

art.

excellent,

admirable

an

have

of

manner

work.

Nobili.

exhibits

of

richness

the

ancient

of

decorative

dei

are

Mariano

Fontegiusta
of

by

(1497)

Lorenzo

great

Casino

technically

are

The

the

in

1456)

il Marrina.^

sculptor's

dignified

and

(1457-

called

to

seems

and

purely

vigorous

his

he

Giacomo

Bartolommeo

continues

This

nature

and

di

none

though

of

study

statues

of

and

great,

277

ITALY

(1439-1502),

(d. 1537),

Federighi.

upon

in

best

is

Giorgio

Mariano

Querela,

diligent

to

di

Lorenzo

IN

Neroccio

(1453-1515),
and

1500),

di

Francesco

1454),

ca.

RENAISSANCE

THE

but

great
school

neighboring

cities

Ferrara.

Pisa,
author

figures
are

known

of

one

of
of

the

the

the

by

animated,

natural,
altar

name,

in

but

of

gifted

most

the

they

chapel
and

Donatello's
and

of

their

the

works

tive
attrac-

Eremi-

are

of

278

tani.

The

1498)

was

less

works

of
his

of

some

them

evident.

relief

marble

in

the

minor

jewel-boxes,

and

and

other

and

animated,

skill.

influence

of

predominant

passed

the

known

as

Such

the

and
tino

Talpa.

of

imitators

(1430-1514),

the

activity

of

this

chests
various

are

composition,

and

his

kind

cal
techniof

ture
minia-

known

are

by

Alari-Bonacolsi,

Mazzoni,

school

part

bronze

the

in

At
"

and

of

the

1460-

his

work

was

such

life

at

as

the

Sperandio,

etc.)i

Mantuans

Cristoforo

He

who
is

of

works

It

popular.
of

is

Verona

Florentine

Geremia,

so

evident

(1425-1495),

large

Pisanello

the

not

very

Bologna.

several

very

is

It

Ferrara.

Bologna

though

strong,

was

Sperandio

but

medal-makers,

and

who

Jftcopo

Mantuan

(Laurana,

in

those

Guido

medal-maker,

miniature
work

his

latter

chief

They

art,

church

candlesticks,

ability

his

and

Ulacrino.^

Mantua

the

of

his

the

decoration

followers

Paduan

as

works

in

in

the

as

Treviso

at

statuettes,

ancient

them

such

(1522)

the

the

gifted

most

works,

life size, but

in

belongs

is the

cathedral

vanni
Gio-

S.

Brioscp,

Bellano,

the

to

(Pier

at

Antonio

admirable.

are

numerous

Bologna,

the

him

his

for

of

and

and

at

with

of

bronze

witness

among

Moderno,

Sculpture

to

reliefs

Antico

pseudonyms

the

small

objects

had

sculpture,

in

His

nature

He

of

are

bearing

of

worked

Trombetta

arts.

household

study

1528),

Antonio

Padua,

at

in

terrar

of

He

Some

(1516)

of

bust

pupil

beauty

church

of

1527)

colored

the

Padua.

at

is

the

the

Renaissance.

Sebastian

Anthony

St.

Anthony

school.

St.

of

St.

in

Jesus,

In

after

in

and

works

but

effect

d.

is

screen

ineffective.

1460;

Antonio

son

Developed

bronze

his

His

Paduan

statue

of

(1470-1532),

the

the

chief

his

choir

dramatic

work

prise
com-

Donatello,

are

for

ca.

ornamental

of

of

style

striving

widely
they

the

on

compositions

(b.

baptism

of

Riccio
to

was

the

chapel

called

his

One

of

his

the

Minelli

Bassano.

at

the

artificial

in

figures.

cotta

of

an

Bellano

his

date

and

Giovanni

excelled

imitated

life

reliefs

of

1430-

more

where

Padua,

at

(ca.

therefore

is

series

He

figures Ij^ck

of

and

Antonio.

San

Bellano

and

chiefly

are

tombs

SCULPTURE

Bartolommeo

productive

His
several

OF

talented

more

known.

of

HISTORY

somewhat

best

terra-

akin

(1397-1455)
Niccold

Lysippua,

Fioren"
and

SCULPTURE

OF

his

by

cotta

most

hand

at

area

In

Bologna.'

the

of

with

its

rich
of

figures

F:aiTiiE

San

its
is

prophets,

the

Lamenttttion,

of

St,

of

an

Domenic,

and

free,

spirited

independent

an

Maiioui.

by

of

as

arm

work

front

almost

natural,

the

work,

Domenico
the

appears

but

the
Bari

chief

his

in

he

Querela,

The

147.

da

on

and

and

from

Domenic

Bologna

at

for

though

Madonna

ornamentation

saints

St.

279

ITALY

Niccolo

Area,

terra-cotta

della

Jacopo

dell'
of

hb

natural,

wrought.

Niccolo

pubblico

palazzo

imitator

carelessly

sarcophagus

or

IN

and

vigorous

called

is

(1414-1494)

RENAISSANCE

are

rather

part

the

THE

Modetiu.

"

artist.
is

In

another

the

church

work

of

lamentation

and
the
This

the

figures

attitudes
most

body
grouped

such

as

realism

extreme

chief

Maria

della

lai^

terra-cotta

of

as

subjects

were

the

by

imitated

faces
in
in

at

Bologna,
of

group

In

and

expressions
for

costumes

Italy

at

other

the

time.

of

cotta,
terra-

groups
of

which

the

are

189).

the

(1463).
the

chance,

common

was

Vita,

Christ

dead

the

unrestrained,

are

part

the

are

Sta.

Niccold,
the

over

this

of

and

Nativity

Nicrold

beEaQ

his

the

work

280

HISTORY

Pieta

Lamentation

or

of

Mantua

such

of

the

church

of

S.

Giovanni

is

most

Mazzoni

of
various

in

the

Modena

at

The

found

are

earliest

and

Jesus.
Guido

was

works

best

The

Italy.

of

body

groups

whose

(1450-1518),

parts

SCULPTURE

the

over

artist

important

in

OF

Lamentation

Fig.

(1477-1480;

147).
Lombard

Sculpture

the

bardy

be

due

towards

the

to

activity

after

the

the

the

of

drapery,

Paduan

of

for

preference
for
of

in
in

employed

of

the

fifteenth
who

rise

relatively
The
The

or

1482)

work
sometimes

in

noticeably

above

the

the

ranks

of

ture
sculp-

qualities

the

and

of

man
Ger-

and

artisans

Though

the

of

ing
lik-

habit

with

cathedral.

sculpture

Lombardy,

than

century

the

and

artists
the

the

the

Flemish

to

northern

adorning

is richer

Amadeo.

sculptors
and

of

Antonio

(Giovanni

of

to

and

Italy

due

gilding,

buildings
of

in

half

second

Lombard

tors
sculpfellows

their

are

few.

Omodeo

Their

and

Mantegazza.
chief

(d.

wood

of
Some

probably

are

building
of

province

no

Lombardy.

to

sculpture
works

exterior

and
as

groups,

materials,

as

whole

the

and

and

figures

thin

Lombard

in
color

ence
influ-

action

dramatic

of

the

irregular,

figures,

use

of

developed

clearly

seen

may

influence

which

are

free

terra-cotta

almost

Lombard

the

which

Michelozzo's

sculpture
shows

had

cathedral

for

the

towards

small

and

peculiar

are

but

works

and

Arezzo,

Verona,

the

increased

Lean

feeling

strong

of

credit

century

tendency

numerous

wood

covering

the

school.
a

sculpture

d'

1456,

of

Paduan

expression

the

Lombard

middle

the

of
folds

after

their

sculptures

the

Niccold

Milan,
But

but

naturalism,

Florentine

at

Florence.
soon

Milan

century

notably

places,

employed,

were

At

progress

various

Lom-

"

the'fifteenth

of

part

In

Century.

Fifteenth

early

In

sculptors

influence.

show

the

mediaeval.

Florentine
little

of

sculpture

still

was

the

of

the

sharply

the

cut,

Certosa

(d.

1495)

Antonio

di

Mantegazza

exaggerated,

Other

is
and

clinging

full

often

Lombard
Pavia

at

Sculptors,

Amadei,
of

and

draperies

Amadeo

1447-1522).

feeling,

crowded

Cristoforo

were

Mantegazza

but

with
somewhat

"

is
small

The

restless,
figures.
resemble

Lombard

style,

but

tomb

of

unfinished

is

effigy

is

Gaston

feil

de

and

classic

influences.

known

chiefly

Foix

(begun
but

dignified,

in

mannerism.

into

The

chiefly

are

SCULPTURE

gradually

theatrical.

(1421-1506)

by

OF

beautiful

and

artificial,

1475)

HISTORY

his

by

reliefs

the

where

Andrea

his

style

work

(working

He

but

and

was

of

ist
art-

an

and

taste

not

ability,

marked

Vejietian

the

fied
modi-

was

Ferrara,

Venice.
of

pretty,

Bregno

Milano

Urbino,

at

his

bent
recum-

are

of

da

Ambrogio

the

1515)

works

Rome,

In

nality.
origi-

Sculpture

of

Renaissance.

Early

"

In

Venice

from

the

the
the

to

transition

Middle

Ages

Renaissance

place

by

took

gradual,

almost

imperceptible,

degrees.

Throughout
of

fifteenth

Gothic

part

century

decoration

mediaeval

and
of

expression

faces
in

large

the

retained

were

works

of
from

came

who

sculptors
other

of

parts

NiccoIS

Italy.

even

d'

Arezzo

and

his

and
FiaVRi:

The

148.
"

Dobg'b

Patace.

the

erected

the
in

1423),

under

tomb
fine

of

comer

Piero

same

di
of

monument

which
the

influence

capital

of

Solomon;

Fig.

Donatello

himself

the
is

148)
made

part

the

be

is

Palace
of

figure

'^.
St.

of

di

Martino

Florentine

tors
sculpThe

and'the

Florentine,
(the

St.

(d.

Michelozzo.

Judgment

of

Florentines.

anonymous

of

Mocenigo

and

(1435)

work

Giovanni

to

Doge's

the

fatade

Tommaso

Doge

Donatello

Buon

of

years,

Upper

the

and

themselves

Pacifico

Beato

Niccold
the

show

they

1420

'^'^,
j.l

Of

the

Venice.
r

Mark's

following

dcCOrated

Solomon.

Judgmentof

the

in

Fiero,

son

John

the

Baptbt

in

THE

OF

SCULPTURE

Frari,

the

RENAISSANCE

in

Elsewhere

Venice

Mark's,

the

on

sculptors

of

and

school.

"

The

of

chief

Bartolommeo,

these

were

Paci-

Giovanni,

At

Paduan

full

the

same

of

school

the

worked

and

Venice,

naissance
Re-

Venetian

sculptors

in

Lombard

Palace

dignity

earlier

time

'3

Doge

St.

the

the

serious

the

family,

the

with

of

the

employed.

show

naturalism

forms

in

of

fa^de

Pantaleone,

works

whose

Oro,

Bon)

(or

and

Sco,

d'

much

were

Buon

the

C"

the

on

"

283

ITALY

IN

their

fluence
in-

important.

was

Rizzo.

Antonio
"

Rizzo

(1430-1499?),

from

Verona,

Venice

about

the

the

and

finely

are

but

mediaeval

The

tomb

Tron

Niccold
its

is

liefs,
re-

ornamental

truly

work,
lack

its

though

(Fig.

Some

of

show

statues

the

mental
monu-

cohesion

149).

the

first

and

of

Eve

the

influence
the

interior

striking
Adam

large

numerous

and

is

of

(1473),

nineteen

statues,

parts

monious.
har-

altogether

not

detail,

effect

the
is

whole

with

Frari,

the

figures

the

In

Francesco

in

modelled,

to

1464,
of

tomb

Foscari,

of

went

of

great

decoration

on

the

tombs
of

Foscari

the

Paduan

school.

which
Venetian

monument

This

the

are

most

churches.
iu

the

The

court

of

284

Palace

the

Doge's

The

records

him

of

of

and

factor

Pietro

Lombardi

Jerome

and
St.

origin

shows

ascribed

The

the

but

art,
is

the

Leopardi,
architect

and
a

as

equestrian
with

"

the

decorator.

of

weapons,

The

of

places

are

and

Pietro

in Venice

his

(1481-

decorative

Vendramin

ished
(fin-

of Venetian

the

Lombardi

their

does

of Florentine

composite

great

exerted

powerful

sculpture.
(d.

1522)

Verrocchio's
was

bronze

Several

masterpieces

Leopardi

which

tume
cos-

noticeable,

elaborate

of

Venetian

He

Doge

ancient

Venetian

naturally

After

the

Lombardi.

and

the

bronze-caster,
of Colleoni.

statue

monument.

they

1474)

(possibly collaborating

effect

upon

are

Andrea

extensive

AUessandro

skilful

its frieze

that

motifs

of

Doge

grandeur

of

the

marked.

(d.

in

by

In

less

of

bard
Lom-

modified

figures

Miracoli

Antonio

decorative

lasting influence

and

the

most

or

excellent

so

joint
dei

his

general

are

work

St.

ture,
sculp-

neighboring

figure sculpture

in freedom

equal

and

example

and

is the

The

tombs.

o!

Tullio

Leopardi),

works

finest

Lombard

that

Pietro

Maria

of

by

ancient

greatest

of

statuettes

Marcello

its

of

Antonio

execution.

closely;

Venice

of Sta.

fine

sculptor.

sons

though

Niccold

style

monument

1494),

and

with

which

The

church

works,

very

in

perhaps

art.

not

in

in

qualities

(d. 1476),

him.

is the

his

Doge

individual

to

in

his

by

and

(ca, 1435-

and

purely

are

Lombard

the

monuments

1489),

artist

an

Solari

signed

antegazza,

work

reliefs

the

His

beauty

the

sons

Mocenigo

smaller

with

of

Rizzo's

and

clearly

of

resembles

sons

an

architecture

architect

assisted

in S. Stefano

love

his

both

usually

of the

monument

shows

to

clearly

was

Pietro

"

(d. 1532).

Paul

style

Pietro

ascription

apparently,

not,

Sons,

was

was

TuUio

Venetian

The

he

in the

of

his

Lombardi,

and

work

though

Rizzo.

by

Renaissance

of

progress

and

works

large

(d. 1516)

the

the

he

but

disputed;

Venice,

in

called

his

is

the

and

confused,

are

works

earlier

original genius.

great

In

life

in

SCULPTURE

somewhat

works

sculpture

1515),

OF

are

his

many

important
of

HISTORY

death,

employed

also

designed

adds

greatly

sockets

of

chiefly

was

to

the
to

the

cast

pardi,
Leothe

pedestal
the

effect

flagstaffs

SCULPTURE

in

the

Piazza

and

di

Other

subject

To

numerous.

ascribed

works

the

Rome

century

the

school

In

tomb

of

the

century

in

Venice

sculptors

of

ture
sculp-

mere

been

Dentone,

definite

works

and

names,

school

the

her

have

must

Pyrgoteles,
are

and

Antonio

as

general,

in

Filarete.

Rome.
of

of

the

early
d'

Philippe

Cardinal

many

of

Pietro

Cosmati,

the

is

berti's

Other

tombs

in

to

1414

first

with

Isaia

da

His

figures

his

sometimes

with

with

works

more

lacking
Isaia

da

and

bard
Lom-

(1432-1433)
(Antonio
(1407-after

The

chief

Peter's

work

(1433-1445),
but,

in

equal

to

tomb

of

Roman

Renaissance,

Rome

bronze

of

spite
Ghi-

Pop)e
it

Donatello;

is

He

the

Renaissance

is best

Pisa

Pisa,

by

known

(ca.
worked
Mino
in

of

study

more

da
Rome

Rome

Fiesole,
than

Paolo

Rome.
worked

Fiesole

da

1509)
for

ten

whose
that

sculptor,

Romano,

is
years
name

of

and
of

than

antiquity

1440-after
in

mediocre

any

other

several

though

into

Mino

with

later

was

called

1470),

originality.

(d. 1447),

work.

-co.

Dalmata
He

the

means

any

in

the

of

figures,

influence

IV

introduce

(ca.

original.

the

Eugene

Taccone

Giovanni

by

fied,
digni-

"

are

show

St.

Ghini's

Rome.

in

of

with

not

Caraffa

Ghini

Rome.

crowded

the

Filarete

in

door

fifteenth

Tuscan

Simone

years

shows

Pope

Rome

helped

Florentines

is somewhat

but

of
in

The

Florence.

Sculptors

tomb

in

and

and

(1433?)

work,

sojourn

scrollwork,

doors

Martin

brief

bronze

elaborate

of

by

some

is the

beautiful

its

for

busy

end

later

1400-1469)

former

which

beginning

years

influence.

ca.

were

the

some

Donatello's

lasting

1480)

in

the

simple,

are

the

mark

not

of

years

Alen9on,

but

Ghini.

Simone

Stefaneschi

works,

brought

Averlino,

and

others

tomb

was

no

but

certainty,

the

artists.

the

works

such

and

effective

of

which

fine

of

"

and

of

nmnber

the

Vicentino,

monuments

"

tomb,

of

and

them,

Renaissance

Early

"

had

The

predominates.

The
In

of

anonymous.

Lombardi

work.

fifteenth

some

tion
decora-

of

examples

"

the

great,

with

are

of

very

Andrea

Camelio,
are

half
is

towns

his

285

ITALY

IN

admirable

Sculptors.

last

the

also

are

Venetian

RENAISSANCE-

Marco,

San

casting,

of

THE

OF

at

others.
nature.

vigorous

more

(1470-1480),
is
other

connected

sculptor

286

of

this

and

of

lack

Another

Lombard

Rome

during

works

are

classed

In

Cristoforo

Romano

in

Rome

work

worked
exhibits

by

of

progress

the

chief
of

centre

of

aim

and

name

the

from

artists

styles

than

Venice,

other

together,

the

rather

Several

sculpture

of

much

artist.

that

so

several

the

of

of

the

sculptors.
but

production,

of

not

who
works.

in

Rome
who

Lombardy,
monument

often

Decorative

effect,

sculpture,

art

be

hardly

isolated

by

sculptors.

the

Isaia

sculptors

same

in

of

son

can

and

Tuscany

His

tion.
ornamenta-

Renaissance

Early

in

century.

the

and

art.

worked

who

1512),

Lombardy

known

are

the

(d.

pose

ancient

finely wrought

in

chiefly
Roman

of

fifteenth

the

their

by

as

the

of

ies
draper-

dignified

Milan,

of

Capponi,

decades

their

his

Bregno

folded

finely

influence

the

distinguished

general,

was

Luigi

last

worked

Pisa,

worked

is
the

Gian
da

show

animation

with

of

Andrea

is

though

origin,

number

the

in

him,

figures

Lombard

his

Mino

to

with

slender

whose

betray

only

SCULPTURE

associated

often

(1421-1506),

and

Second

period.

works,

OF

HISTORY

here,

was

Rome

was

tant
impor-

an

and

original

in

as

progressive

work.
The
the

condition

same

of

more

Byzantine

Aquila

Mazzoni,
all

results.

general

Neapolitans,
da

Middle

Laurana

Naples,

portraits

bard

since
in

of

simplicity,
Domenico

Ages,

he

was

Sicily,

and

and

young

his

born
in

women

in

who

went

by

1420,

tian
Vene-

chiefly

Some
in

their

excellent.
Genoa

cesco
Fran-

birth

France.

from

Domenico

worked

Dalmatia,

is

called

Renaissance.

charming
work

be

about

until

1502),

southern
are

decorative

Gagini,

and

1500

the

much

di

his

of
modest

The
to

in

as

may

Antonio

the

to

Guide

Giuliano,

with

who

active

were

not

brother

work,

and

they

(d. between

subject,
at

Ciccione

Andrea

Sometimes,

sculptors

two

Dona-

Rome.

Rossellino,
his

one

here

though

Romano,

Naples.
in

joined

although

the

to

and

in

The

Andrea

Bamboccio,

belong

times

in

Antonio

Majano

sculptors

than
Paolo

Pisa,

Somewhat
"

Italy,

persisted
da

da

Italy,

southern

in

1446-1458),

various

at

several

same

Isaia

Benedetto

worked

Rome,

existed

(working

Southern

in

tradition

Michelozzo,

tello,
d'

Renaissance

Early

Palermo

Lomin

OF

SCULPTURE

though
is

1536),

technique,

or

in

stronger

great

by

influenced

somewhat

the

of

works

sculpture,
and

Laurana,

this

Gagini

Antonio

his

287

ITALY

Lombard

of

peculiarities

the

retained

1463,

IN

RENAISSANCE

THE

son

which
are

and

originality.

distinguished
pleasing

expression,

beautiful

for

but

not

forms,
for

deep

influence

(1478-

good
feeling

CHAPTER

SCULPTURE

OF

XVII

THE

DEVELOPED

RENAISSANCE

THE

AND

ITALY.

IN

LATE

THE

RENAISSANCE.

THE

BAROQUE

Teiidetwies

of

the

the

of

Seulpture

Deneloped

Renaissance.
"

Before

end

the

of

Renaissance

of

decoration

learned,

of

of
ancient

spontaneity,

observed,

this

in

usual

J^^n

which

hgures

stafue

such

complete

reduce

their

architecture

careful

study

of

which

works

was

in

known

almost

really

sculptor

great

several

merit

others

Andrea

effective

in

sometimes

effect,

place

in

poses,

academic

mere

of
brief

Sansovino,

the

period

of

ancient
Roman

through
in

Care

of

ling,
model-

drapery
for

straining

obvious

Michael

and

direct

The

correctness.

is

to

as

arrangement

in

resulting

re-

and^
sometimes

The

originals.

the

high

to

admiration

to

be

had

monuments

exclusively

Greek

of

sometimes

evident,

are

gives

of

large

of

which

statues,

insignificance.

to

copies

selection

of

possession

lack

of

place

as

of

may

important,

more

nature

Roman

or

almost

ture
na-

some

relief,

gives'

appear

becomes

taking

low

Renaissance,

Early

the

the

general

the

of

characteristic

hfnutiful

Thr

of

formulas

accepted

been

study

chapter

becomes

tendency

motifs

had

works

previous

repeat

and

by

the

in

the

to

Renaissance.

Developed

art,

in

period

processes

attained

Already

art.

tendency

and

been

formative

methods

technical

had

discussed

sculptors

The

over.

was

form

the

century

established,

were

beauty

been

fifteenth

the

sculpture

and
the

of

only
though

Angelo,

consideration.
Sansovino

Andrea

Con-

(Andrea

"

tucci

dal
of

Monte
Michael

Sansovino,

Angelo,

1460-1529)
the

most

was,

admired

with

the

sculptor

tion
excep-

of

the

290

to

HISTORY

where

Bologna,

St.

Proculus

The

show
he

spring
Rome.

to

he

lost),

his),
in

the

several

the
the

Cupid
Bargello,
other

in

the

by

Michael

sleeping
John

South

in

Berlin

tondi

two

The

of
chief

the

(for

work

Querela.

June,

of

1496,
from

return

this

style
is

Drunken

Virgin

St.

Rome.

ancient

in

the

Kensington,

in
his

Angclo.

Cupid

the

deUa

and

following

the

and

Jacopo

Florence

decade

Domenic

St.

angel,
of

"

St.

works.

influence

PietA,

of

area

kneeling

to

the

produced
youthful

the

the

returned

ISO'

SCULPTURE

for

the

In

FiQUBB

Bologna

carved

lost),

These

next

went

he

(now

Petronius.

OP

and
his

(now

probably
Bacchus

Child,
first

and

sojourn

SCULPTURE

in

OF

Rome

Here

150).

the
of

that

mastery
the

figure,

art

but

the

of

pne

of

groups

The

and

the

date.

But

here

give

he

During

is

la

to

the

in

until
he

in

of

juvenile
remarkable

(Fig.
influence

with

mingled

ApoHo

the

of

is

statue

satisfactory,
size

work

colossal

the

the
is

the

sculpture

Accademia

which

Donatello

stantly
con-

chief

the
is

1505,

was

with
but

the

Michael

Florence,

to

years

The

in

of

list

1501

time

this

David

the

manner

later

impossible

remained

these

that

in

complete

painting,

151),

Bruges

little

occupied

of

all

sculpture.
in

returned

where

of

of

greatest

Datid."

Angelo

and

is

works.

master's
The

Robbia

works

early

Piet4

it

della

the
This

his

probably

is

the

in

seen

that

are

Madonna

resembles

of

Fig.

harmony

devotional

small

is

Quercia

the

in

own.

the

that

1499

nude

and

and

of

greatest

and

della

in

ful
wonder-

anatomy

sculptor's

the

the

composition

young

Jacopo

291

ITALY

Madonna,
in

power

the

(finished

draperies,

of^eath

of

IN

Peter's

of

the

the

Jesus,

portrayal

of

of

of

ancient
of

figure

St.

influence

folds

face

RENAISSANCE

in

Pietfi

the

heavy

the
in

the

is

THE

for

tirely
en-

lossal
co-

ill
of

work,

not

the

harmonizes
forms

vedere.
Bel-

and

with

youthful

the

the

head

David,
and

face

nevertheless
are

powerful

it

is

and
,

impressive.
The

Tontb

of

Julius

II.

In
"

1505

Michael

Angpl"i

'"*a.

292

called
which

11,

after

imperfect

very

(see
how

powerful
April,

the

forty

1506,
fled

Pope,

its

was

sculptor,

much

slaves

Id

the

and

March,

the

by

the

worked
but

he

U-ji

S,
the

oriler^-d

the

liini
and

of

tiirnh

tonib

of

ori^ioid

the

Jtilius,
S.

IHetm

plan.

of

part

interrupted

was

l/irenzo

cluir^'h
t""

the

on

the

other

as

It
in

Only

this
His

1513.

Angelo,
for

he

in

in

the

finally
Vin(x"li
the

and

who

three

projects.
the

works

great
of

was

time

cares

undertake

tonilks

died

of

years;

b"-

to

ceiling
chapel

Michael

with

ci"ntract

new

and

with

engaged
II

from

Rmne

Sistine

was

was

decorate

to

paintings

inaile

1508,

Pope

to

ordered

Julius

papal

Angelo

Florence

cxtvuturs

which

the

bombard

called

1512.

to

with

Michael

September,

Bo-

(called

Giulia)

amy.

until

the

melted

In

work

after

cannon

the

but

1508,

b,\-

years

make

"

which

down

lognese

.\nKrlo.

statue

in

taken

to

make

to

erected

the

with

together

Holiness,

four

at

obtained

bronze

his

was

Mkhsrl

Pope

and

colossal

was

same

the

commission

of

by

the

met

pardon

Ivv

Angelo.

of

he

shdw

insulted

November

Bologna

Moaps.

group

Louvre

himself

hb

and

Michael

upon

year

which

Laocoon

in

"

effect

but
curtailed

the

1506,

Julius

Pope,

work,

considering

Florence.

to

in

"

the

reigning

elaborate

only

and

lasting
the

the

January',

found,

and

and

years
In

was

for

superb

SCULPTURE

tomb

form.

1 M)

page

be

to

was

OF

make

to

finished

was

In

Rome

to

HISTORY

at

Florence

bears
txtlossal

little
Moses

and
"

in

completed

of

fa^"de

"

Medici

Pope

1545

in

the

resemblance

(Fig.

152)

and

SCULPTURE

OF

the

figures

rest

is the

of

and

"slaves"

in

the

The

figure,

the

wonderfully

limbs,

mighty

unfinished

Angelo
is

suppressed

of

four

Moses

with

293

ITALY

Michael

by

are

pupils.

Louvre,

IN

enei^etic

emotion.

colossal

The
iu

statues

dens
gar-

ence,
Flor-

at

and

of

Rachel

expression

an

Boboli

pei^

the

haps

his

impressive

attitude,

the

of

and

RENAISSANCE

and

Leah

work

powerful

THE

group
in

\'ictory

Bargello,

the

were

tended
in-

originally
for

this
and

monument

what

show

variety,

its

dor,
splen-

and

power

have

might
been.
The

Tort^

the

of

Medici.
"

The

second

great
the

monument

"

tombs

of

Medici

the
8.

in

Lorenzo

Flor-

at

ence

was

"

planned
but

in

begun

not

until

1S24.

part

of

inal

1519,

Only

the

orig^

plan

carried
when

was

out,
Michael
The

lifeless

and

this

even

Angelo
chapel

left
of

"

of

the

Medici

younger

(Fig.

Lorenzo

153),

each

in
but

dignified,

"

architecture

Florence

and
in

the
its

1534

the

cold

seated

below

turn.
re-

and

statues

Giuliano

younger

niehe;

to

never

somewhat

contains

now

finished

completely

not

was

them,

de'
on

294

HISTORY

the

colossal

sarcophagi,

(female),
third
the

the

patron

figures
head

of

even

less

the

the

but

sadness

which

awakening

the

desire

While

completed

in

Maria

made
the

of

the

by

the

the

end

1541.

In

these

but

and

none

of

cathedral

at

broken

by
marble

The

This

of

last

Evening
out
with-

them

Florence,
the

because

expressed
Caro

mi

Mentre
Non

Per6

che

veder,
noi\

sonno

'1 danno
non

mi

sentir,

destra,

of

Pieta,

the

in

piu

I'esser

la

vergogna
^

mi
deh

one

gran

parla

of
di

his

in

work.

figure

sonnets

sasso
:

ventura.
.

ba^so.

was

sculptor,

The

dura

the

defects

with

his

great

this

of

group.

in

in

now

Florentine

which

sculpture,

but

account

by

His

with

works

satisfied

not

was

Angelo

*1

sculptor

finished

completion,
on

he

Peter's.

were

the

Only

this

1535

and

Was

they

several

finished

Michael

by

chapel.

whether

who

Calcagni,

painter,

as

began

collected

were

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paintings,

filled

he

in

even

of

approached

sculptor,

and

Christ

stupendous

finished.

was

the

St.

Sistine

of

life, Michael

assistant.

an

tomb

of

years,

he

the

architect

the

activities,

or

is

looks

Day

sculpture,

architect,

1547

most

wall

fragments

Tiberio

the

sleeps

his

of

Rome,

of

chief
in

of
in

hand

the

and

covers

interests

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seems

life ;

with

years

work

one

Pope

Vatican,

later

Minerva,

by

are

Judgment,

Last

the

only

sopra

details

was

deeply

Dawn

Night

occupied

was

the

all

during

Angelo

some

passionate

shoulder;

and

and

of

his

world

he

"

and

Sta.

the

the

figures

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pleasures
over

omitted

waking.^

Works.

Medici

the

and

impressive.

sombre

spirit.

glance

from

away

of

Later

woes,

threatening

wearily

turns

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not

and

is

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Lorenzo

recumbent
the

The

the

entirely

wonderfully

embodied

oppressed

to

angry,

the

have

to

seems

of

statues

powerful

Damian,

of

that

is admirable,

is

last-mentioned

is almost

two

Lorenzo

of

tremendously

sculptor

with

the

on

Montelupo.

and

the

In

and

two

and

portraiture

between

face

four

of

The

Night

and

Cosmas

finished,

completion.

contrast

thoughtful
the

is not

element

Sts.

Montorsoli

Evening

the

(female)

Medici.

by

near

Giuliano

the

of

and

(male),

Day

Dawn

between

executed

were

of

and

Madonna

saints

SCULPTURE

statues

(male)

Evening

wall

OF

"

"

of

SCULPTURE

the

OF

Magdalen,

the

THE

and

correct

the

group

RENAISSANCE

dead

Arimathea

in

combines

the

beauty
sentiment.

Michael
of

history
among

Other

di

the

of the
of

the

Maria

relief

admirable

1556),

figure

of
is

1472)

the

also

Sangallo

as

directness.
known

chiefly

San

Gian
da
and
ca.

by

Pisa,
the

other

known
for

hb

in

by

bronze

to

group

the

baptistery,

the

statue

of

works

in

are

the

(b.
VII

in

England.
St.

Jerome

Francesco

di
is

architect,

lacks

less
and

simplicity

is

(1474-1554)

the

and
St.

in

execute

Henry

an

of

inferior

of

Rustici

turesque
pic-

(1476-

was

Seville.

work

in

Tarcigiaao

works

as

Francesco
the

Baptist,

(1469-15;J5)

Or

best

little

mentioned.

Rovezzano

I^eH;o

at

of

are

England

chief

and
are

successful

monument

his

chapel

Jonah

Samaria

be

da

to

museum

sculptor,

of

portraits,

several

where
the

Giovanni

the

lupo
on

in

fine
of

(1495-1570),

important

John

and

Spain,

to

Madonna

the

of

may

Wolsey.

of

Abbey

went

and

was

designs

Chigi

works

and

called

the

most

few

Lorenzetto
from

statue

Benedetto

ber
num-

but

great,

Woman

was

Cardinal

artist

Westminster

The
the

decoration

he

sculpture;

monument

He

in

The

"

of

Florentines

work.

the

executed,

later, independent

decorative

in
supreme

Florentine

Rome.

(I465-I526)

was

decoration

other

Ferrucci

influence

The

and

of

ness
bold-

and

parallel

century

Jesus

tion,
composidepth

power,

sixteenth

in

in

successors.

I489-I54I)

his

Several

Andrea

his

of

masterpiece.

without

their

important.

of

but

admirable,

dramatic

Renaiasance.

Popolo

skill

it b

of

rest

Joseph

and

Developed

sculptural

del

bronze

interest.

the

and

degree

Uiat

and

Ludovico,

Raphael,
Sta.

wonder

no

really

are

(Lorenzo

in

contemporaries

sculptors

them

by

It

art.

the

Virgin,

sculptor

work

condition

skill,

is

his

295

ITALY

correctness,

present

technical

Sculptors

of

its

Angelo

hb

of

in

originality,

In

anatomical

line,

Even

the

highest

"

of

is

insipid,

Christ,

"

IN

John

of

Preaching
Baccio

da

the

St.

Monte-

Evangelist,

Michele.

Crbtoforo

Romano

retains
same

1520-1545)

{ca.

much
is

and

true

of

of
Gian

the

spirit

Pietro

Francesco

the

I465-I512),
of

Bariloto
da

the

Early
of

Grado

Faenza

son

of

Isaiah

Renaissance,

(working

(wotkuu{,"k":"v^

296

HISTORY

Antonio

1525).

Begarelli

Alfonso

in

S.

Lombardi

Petronio

tasteful

and

Pericolo,
with
was

himself
in

Lombardi
of

Florence

influenced
in

influence

the
the

They

ture.

but

not

della

Benvenuto

Cellini.

busts

portrait

serious

fact

noted

Lanzi,

the

in

in

worker

Bologna.

prominent

(called
his

in

Mercury
boldness

in
in
of

the
its

In

"

in

as

part,
Fra

Guglielmo
tators
imi-

were

His

Bargello
graceful

Perseus

Escorial,

the

in

care

have

habits
of

all

beauty.

of

and
tion
execu-

also
the

an

smith
gold-

his

works,

He

is the

but
most

Renaissance,

Developed

Renaissance

the
is

most

The

Antwerp

popular
is much
marble

and

Flying
for

admired
of

ceived
re-

settled

the

work,

groups

Jean

who

1529-1608),
at

most

Fleming

French

the

sculptor

the

Renaissance

Late

(ca. 1566),

pose.

the

figures

The

their

Benvenuto
"

great

Bologna,
a

1563.

in

execution

Italy

Giovanni

education

Florence

sculp)-

most

of

works

His

period.

Late

sculptor

Boulogne

the

son

statuettes

the

the

of

larger

crucifix

from

detracts

The

Giovanni

Venetian

goldsmith

nature.

this

him

his

his
of

at

hardly

bronze

Angelo,

(1493-1560)

famous
in

study

influenced
that

The

shows

unusual

grace

ing
show-

(1505-1567),

1577;

Bandinelli

"

and

"

and
easy

dei

Loggia

(d.

was,

vlarious,

for

was

ever,
how-

Angelo.

(1500-1572)

the

earlier

Montelupo

Porta

he

Rome

Michael

effective,

da

Baccio

Michael

of

in

Raffaello

and

Porta),

and

della

and

works

early

activity

many

and

Donatello,

1486-1570),

in

Sansovino,

attractive

are

are

chief

Loreto,

at

Jacopo's

his

works

of S. Petronio

Tatti,

and

are

(Niccol6

Casa

Santa

master,

Andrea

of

Angiolo

Cellini

his
of

great.

Giovanni

of his

Domenic

facade

(Jacopo

Angelo

school

Paduan

in the

reliefs

Tribolo

the

on

as

whose

St.

Florentine

later

style

where

Venice,

of

area

like
life-

terra-cotta,

Bologna,

Sansovino.

Michael

by

the

Sansovino

the

in

are

of

worked

Andrea

of

colored

in

The

and

Jacopo

pupil

base

who

1485-1550),

pupil

the

on

picturesque.

Alfonso

of

groups,

(1497-1537)

and

modelled

1498-1565)

{ca.

in

figures, especially
did

SCULPTURE

OF

the

the

Rape

298

HISTORY

IV,

is tasteful

work

the
these

had

of

were

Girolamo

works,

many

influence

studied

shows

shows,

do

as

all his
is not

but

Angelo,

his

in

work.

without

an^
of

name

those

both

In

the

the

Buildings
decorations

be

with
the

thinking

high

statecraft,

and

of

inside

such

conditions

that

attitudes

that

draperies

muscular

and

immense

were

it is natural

float
those

wildly,
of

women

the

public

the

of

among

men

and

now

sculpture
reliefs
the

understood.

show
forms

lost

Under

its

simplicity,

violent
of

voluptuous.

were

overfanciful

seem

that

were

philosophy,

political aspirations

and

too

are

And

such

adorned

were

which

of

tombs

gorgeous

period.

which

that

of

creation

religion,

and

elaborate

occupation

places

some

all.

by

with

chief

admired

and

statues

desired

were

and

Science,

Allegories

in

dor
splen-

in

dynastic,

incomprehensible

and

was

thoughts.

pondered.

magnificence

portraits,

of

of derision

they

the

productions

is called

which

outside

design,

the

art

and

and

by

go

terms

as

and

and

tecture
archi-

Ages

the

stucco,

elaborate

national,

applied

greatness

The

Middle

understand

Gardens

brilliant

most

first

which

reckoned.

Michael

"

century

of the

art

century

of

from

of

influence

seventeenth

to

or

among

fountains

deeply

stone

apart

decorations,
to

ceased

covered

of

sculptors,

the

seventeenth

were

whose

(1530-1576)

Century,

Seventeenth

were

externals

sovino,
San-

Jacopo

Baroque

great

names

had

who

were

of
the

as

Bartol-

originality.

the

of

rt

sculpture

and

decried.

are

Baroque,

Gothic,

by

the

of

have

whom

Danti

the

contemporaries,

and

Bandinelli,

Vincenzo

The

Qimlities

under

previously

of

of

pupil

Trient,

architect

The

was

among

Verona,

all

Carrara,

Venice.

(1511-1592)

had

but

in

chiefly

Anmianati

onuneo

of

(1509-1573),

lowed
fol-

from

from

1542),

whom

Chief

(1525-1608),

(working

Cattaneo

of

closely.

pretty

Vittoria

Campagna

Danese

piipils,most

master

Alessandro

his. decorative

many

their

of

much

original.

and

style

SCULPTURE

famou^;

especially

Sansovino

Jacopo

left

is

Madrid,

at

OF

men

motions,
are

Such

over-

sculp)-

OF

SCULPTURE

ture

the

of

spirit

insincere

not

was

The
Gian

at

first

Then

of

busts,

made

Bbhop

works

ancient

stories,
of

of

fountains.

author,

markable
re-

and

He

also

was

man,
draughts-

works

hb
In

and

Daphne,

and

of

"nate

the
of

the

with

on

most

and
but

(Fig.
vastly

clouds

above

familiar

he

exquisite

statuary,

was

early
forms

calm

theatrical

Bernini

the

shows

are

are

nothing

added.

technique
they

produced

the

he

these

(though

or

to

consummate

works),

and

which

be

may

of

most

the

Proserpine,

David
all

afe

Anchises,

of

Apolio

The

architect.

and

Rape

or

intensity,

mythological
Aeneas

senting
repre-

sculptures

punter,
and

politan,
Nea-

His

myths

religious

mystical

the

groups

are

was

and

portraits.
other

mother

two

series

long

his

father,

fifteen

Montoya,

of

His

tury
cen-

he

Santoni

Monsignor
first

sculptor

the

family

or

Lorenzo

old,

dominated

genius

(1598-1680).

When

fourteen

but

the

life

his

the

Rome.

to

years

of

years

Naples.

was

of

passed

Lorenzo

six

moved

299

ITALY

expression

proper

Bernini

Florentine

was

whose

I"orenzo

and

the

the

was

sculptor

"

Pietro,

it

IN

time.

Bernini.

was

RENAISSANCE

THE

restraint
neither

155).

proliiSc
the

examples

Here

beauty.

In
and

papal
of

which
is
his

is,

anything

His

throne
the

in

angel

St.

asso-

sculpture
angels

Peter's

figures

sure,

unnatural

ecclesiastical

original.

be

generally

we

there

to

in

are

which

ing
float-

only
he

300

HISTORY

excelled.

His

^saints

holiness.

His

tombs

dramatic

and

allegorical
Bibiena

if rival

detail

and

time

Frans

others,
them

Baratta

of

imitators

is

surroundings,

architectural
of

genius

easily

style

transformed

emphatic

lightness
France
more

and

the

the

In

of

qualities
grace,

the

magnificent

playful

and

of

none

work

style,

Rococo

style

airy style

of

of

in

as

XIV
XV.

its

brilliant,
the

obliged
the

to

baroque

emotionalism
the

it is

Louis

Louis

in

vigorous

transformed

were

call

possessed

century

baroque

to

seen

even

and

eighteenth

many

just

were

worked

ence,
Flor-

at

and

work,

them

the

Corradini,

hardly

they

exuberance

Paolo

and

men,

effective,

who

the

Raggi,

Foggini

Their

but

its

is

it

sometimes

sculptors

caricature.

and

whose

with

Bernini,

Antonio

Rossi,

These

it

buildings.

Sammartino,

Bernini.

decoration,

Inferior

compete.

skilful,

extremely

of

of

Calegari,

Venice.

at

of

more

much

and

Battista

it

tive
decora-

part

Mattia

Rome,

Giovanni

Naples,

where

never

most

Maderna,

Antonio

at

carried

sculptors

exteriors

Baratta,

Serpotta,

Pietro

mere

Stefano

Francesco

at

were

proper

the

are

at

was

was

was

the

the

on

Bernini,

Germany,

sculpture

was

of

Italian

for

istic
natural-

Rome

architecture,

even

Duquesnoy

Queirolo
and

with

stucco,

Giacomo

for

for

style

to

the

of

It

rival,

(1598-1654),

those

baroque
and

list

period.

names

Ferrata,

Fleming

in

in

out

the

of

this

the

long,

very

than

or

draperies.
chief

care

similar.

France,
A

expresses

fluttering

greater

this

intense

Algardi

are

and

to

connection

in

Naldini,

into

be
at

carried

Ercole

as

Italy,

of

than

work,

and

qualities

but

fancy

Bernini's

instinct

decorative

Saint

"

exhibit

sculptors,

would

popular

Some

of

his

copious,

Alessandro

works

the

motions,

Rococo.

was

abundantly.

time

was

and

general

parts

flourished
this

face,

called,

less

full

other

free,

in

influence,

of

are

and

statues

even

classic

exuberance

The

whose

their

though

to

be

can

of

VII

portrait

works,

trace

passionate

Alexander

living

unrestrained

Others.

Bologna,

this

of

and

earlier

the

in

and

he

from

and

and

expressions

Algardi

is

mystic,

with

VIII

their

his

In

unhampered

exalted

Urban

with

there

disappears,

itself

of

figures.

SCULPTURE

inspired

are

superb,

(1626),

soon

OF

into

called, just
passed

as

into

CHAPTER

SCTTLPTnitE

OF

Tendency
French
is

sculpture

by
of

simplicity

of

angels

the

of

and

realistic

Saints

is

well

the

as

in

or

on

and

churches

elaborate

it,

fact,
of

scenes

the

Even

and

greatly,

chronological

dramatic,

Individuality
of
is

seen,

in

feature.
but

by

it is difficult

grow^
affected,

even

the
In

they

faces,
these

are

figures
learned
of

caprices

or

realism,

with

joined

devotion.

The

crucifixion

have

many

to

In

classify

may

of

be

coupled
changes

chiefly

and
with

the

noticeable

countless
these

disappeared,

date

and

them

in

traced

demonstrative

attitudes,

in

carved

were

hundreds.

development
in

sculptor

by

the

as

"

though

now,

counted

faces,

of

and

Saint

the

as

wishes

followed

entombment

the

in

carpenter.

the

determined

mysticism
which

sorrow

and

angels

physicians.

familiar

"

are

vary

and

with

French

such

the

by

of

spirit

and

repetitions.
groups

by

was

grief

piet"

but
side

with

the

arrangement

longer

forms

portrayed

are

are

The

no

system,
Side

individuals.
in

was

in

tourney,

attitudes,
him.

about

beauty,

l-Veneh

for

as

great

intense

The

is found

is

Joseph

nature,

cases)

religious.

too,

"

century
of

many

of

Saints,

and

Century.

fifteenth

observation

than

are

PRANCE

Fifteenth
the

(in

beauty

armed

costumes

the

of

often

Damian

knight

the

chiefly

are

Saint

and

constantly

saw

and

manner.

in
half

and

still

was

century.

Cosmas

George

art

human

thirteenth

more

for

IN

realism,

action,

popular

were

second

pleasant

pose

familiar

more

the

an"l

feeling,

RENAISSANCE

Sculpture

of

characterized

religious

THE

French

of

XVIII

in

style
local

they

schools.

details

of

namentation,
or-

and

gesticulation
finally

in

the

of

Italian

conventional

influence
in

the

loss

of

ity
regular-

sixteenth

art

tury.
cen-

302

HISTORY

in

Italians
Italian

of

art

and

returned
in

works

only

who

Mazzoni,
St.

at

late

in

France,

Colombe.

the

The

latter

sixteenth
chief

of

the

nothing
and

1467

of

1507),
the

is in

the

architect
the

at

(in

and

angels,

natural,
works

priests

the

little, if
Michel

the
the

are

dragon
high

Michel

existing

Colombe.
the

and

of the

altar

only

Several

be

the

Entombment
other

important

Margaret,

Colombe.

They

by

by

judged

Louvre

which

ch"teau

works
If

and

de

which

the
at

works

Italian

was

are

Solesmes
France

relief

of

carved

ently
appar-

style

St.
about

ascribed

by

the

in

the

work,
to

of

George
1508

(Fig. 156).

his

of
all

are

The

art.

d'Olivet''

are

and

but

time,

certainly

are

Saints

corresponding

to

Gaillon

"Vierge

in

the

the

Strength,

Apostles,

the

and

effigies,

and

Assisi,

of

II,

by

are

twelve

sculptors

Tours,

design

recumbent

inferior

in

(1502-

Foix

the

not

works

Francois

Renaissance)
the

the

definite

at

general

Prudence,

Michel

by

graceful,

may

in

de

the

of

all, affected

Colombe
the

and

Francis

Italian

at

Marguerite

of

figures

are

best

of

Temperance,

lifelike, and

by

of

but

settled

The

the

Bourges

at

monument

Nantes.

of

part

life and

early

was

tor
sculp-

1430-1512),

been

he

wife

style

smaller

Louis,

and

when

sleaiLPerrealj

Justice,

the

Charlemagne,
monks

the

painter

of

statues

three

for

cathedral

French

reputation,

great

the

his

his

have

to

1473,

and

architecture

exerts

supplants

first

{ca.
Of

seems

work,

extant

Brittany,

Guido

sculpture

the

Colombe

already
in

begins

greatest

duke

had

and

Tours,"

He

have

to

information
His

of

known.

is

1496,

king, formerly

architecture

fifteenth

Michel

is

School

"

the

representative

most

the

of

part

century

in

them

Italian

on

Italian

as

"

of

time

of

death

Gothic.

flamboyant

or

Michel

this

from

his

Italy,

among

tomb

to

Laurana

until

from

artists,

also

elaborate

the

and

influence

but

1461

influence.

back

brought

art,

made

Denis,^

great
the

of

from

remained

and

1475

VIII

Charles

1483.

not

about

Milano

(largely medals)

few
no

or

da

Ren6,

were

little

exerted

France

to

period

this

Pietro

and

King

of

court

of

have

to

seem

the

at

works

their

but

1466,

Laurana\

slight.

was

influence

the

century

"

Provence,

in

were

'

fifteeMh

the

In

France.

SCULPTURE

OF

These
hand

of

Louvre
which

Massoni.

is

SCULPTURE

OF

unlikely,

not

THE

they

RENAISSANCE

probably

IN

belong

to

303

FRANCE

earlier

somewhat

time.
The

School

II

9013

and

his

by
Jean

of

Chartres

other

on

de

Foix,

Guillaume

Italians,

two

his

work

of

one

Regnault

he

his

and

by

(ra.

which

combined

the

Coiombe

of

apart

Tours
from

existed

own

in

the

other

Bastarnay,

the

to

school

sculpture

The

Sculptors.

at

of

with

Tours,
Italian

genius,
other

produced

parts

of

influence

"

and

widespread,

was

also

of

is

Louvre,

Several

forms.

Various

his

tomb

French

architectural

Schools.

school

which,

naturalistic

and

the

Pon-

HI

Chaleveau.

attributed

properly

are

Local

fine

Louis

of

in

him

aided

Fiesole,

now

and

ornamentation,

monument

Legendre,

the

1533)

W/^l^^b

Guillaume

them

among

decorative

Fran-

assisted

was

the

da

exquisite

Roberte

and

Montrfeor,

of

1451-co.

for

Girolamo

The

wife

R"gnault

works,

tomb

the

Coiombe

also,

employed
whom,

occasions.

Michel

^^V

cher

for

"

Marguerite

pupils

de

In

Tours.

of

the

conditions

same

the
France,

art

of

Michel

There

are

304

works

school

the

of

influence

activity

French,

Aubeaulx

carved

central

(begun

door

Denis

le

Rebours,

fa9ade

of

the

The

but

time
the

ornamental

of

school
Nicolas

statues

Burgun-

where

Italian

there
on

was

much

the

whole,

Pierre

Rouen,
the

des
of the

tympanum

aid

the

of

Pierre

Nicholas
and

Doulis,

Quesnel,

and

statuettes

the

on

and

the

flourished

but

"

it

in

Champagne,

and,

the
in

rather

than

the
same

which

vigor,

artists

of

Jean

Bachot,

this

Gaydej^^
between

distinguish

to

was

Gaillon.

At

Several

difficult

is

Roux,

with

Tours.

Jacques

"

from

came

delicacy

of

sculptors

of

refinement.

name,

who

ornamentation

school

moderation,

by

Aubeaulx,

who

Italian

cathedral
le

Flemish

Italians

combines

pleasing

Haslin,

des

the

Roulland

by

Pierre

by

in

Amboise,

designed

work,

are

known

of

was

sculpture

qualities

are

with

of

was

and

of

certain

in

Roux,

French

Normandy

chief

Jesse"

le

other

tomb

school

and

1515,

sculptor

elaborate

styles

At

and,

Cardinals

several

by

the

The

in

chief

assisted
for

the

of

begun

the

host

the

was,

lines.

qualities
"

cathedral.

tomb

Rouen,

1573)

in

the

of

Gaillon,

progress

of

Richard

Theroulde,

Jean

but

"Tree

the

those

at

Italian,

not

exhibit

Normandy,

strong

sculptors,

among

along

In

especially

was

which

with

mingled

schools.

other

SCULPTURE

places

many

Tours

of

and

dian"

in

sculpture

of

OF

HISTORY

them.
Italian

Influence,

in

France

1547).

under

Even

(two

Viscardo,

and

of
St.

Louis

XII

nino,

made

known

as

(Antonio
Betti,
son

of

in

for

Jean
di

Giusto

1485-1549),
Antoine,

father,

di

Mugiano,

tomb
and

and

d'

Betti,

of

of

to

Italian

Rovezzano

make

the

which

is

made

Tours,

Florentines

Juste
de

of

brothers

Giovanni
1515.

at

now

Tomag-

The
were

tomb

statue

called

Porta,

Juste

(1515-

Girolamo

da

Lannoy.

of

in
son

and

Aria

uncle,

1479-1519;

II,

Milan,

de

Juste,

naturalized
Jean

his

della

Raoul

Antoine

Fran9ois

engaged

Benti)

and

Antonio
of

nant
predomi-

Benedetto

Mateo

his

Gaillon,

the

di

becomes

XII

Michele

Battista

Lorenzo

of

Louis

1502,

Florentines,

grandparents,

Denis

influence

patronage

Lombards,
two

di

Donato
his

the

earlier,

sculptors

and

Italian

"

Juste,

di
de
were

Giusto

Juste,
also

306

HISTORY

dramatic

fine
known

instinct
them

among

Mibiel,
the

Gentil

his

of

the

of

(1485-1572),

158).

His

and
of

the

are

work,

Francois

Nicholas

chief

with

subject,

Crucifixion.

the

Saint-

known

same

and

best

at

earliest
the

Troyes,

Toulouse,

The

Entombment

includes

Cross

1510-1588),

(ca.

execution.

the

latest,

(Fig.

1553

SCULPTURE

careful

Hattonchfitel,

at

Bearing

and
is

in

begun

retable

the

OF

Bachelier
of

representatives

[liiwS'!'
FIOURB

167.

Dfulh

VirRia

their

schools,

respective

spirit

still

Pierre

in

Choir

something

which

"

of

mediaeval

the

remains.
1536-

(working

Bontemps

Pierre

Bontenips.
"

1562)

was

with

making
St.

Denis,

of

one

the

great

several
the

others,
and

statues

begun
design

in

of

1548.

the

of

sculptors

thefti

among

reliefs
The
monument

Ws

of

the

of

classic

general
is

Pilon,

Germain

tomb

due

rated
collabo-

He

time.

to

Francois

(that
Philihert

in

is,

at

naissance)
Rede

SCULPTURE

OF

but

I'Orme,

He

ancient

French,
The

I,

free

shows

he

himself
of

of

the

works

but

in

church

of

Haute

Italian

Italian

influence.

Entombment,

heart
is

Bruyires,

by

style.

of
also

Rjc^hirr.

Ligier

the

thoroughly

the

the

for

urn

by

the

an

way

The

158.

is

sculpture

Primaticcio,

by

tomb

decoration

from

the

with

imitator

abbey

FiovRB

this

any

exquisite
the

of

in

not

in

Italy

307

FRANCE

acquainted

from

brought

of

most

evidently

reliefs

and

statues

that

prove
was

art

IN

RENAISSANCE

documents

Bontemps.
of

THE

Fran9oi3
tively
compara-

Sainl-Mihiel.

"

Jean

style,

in

first
and

marble
the

the

and
of

the
tomb

At

St.

Maclou.'
in

Louis

Brfe^.

of
He

he

carved

part

of

the

screen

new

tween
be-

columns
of

part

of

the
organ

worked

the

on

and

Rouen,

went

rood

the

Bologna

two

probably

cathedral

of

at

made

on

where

died

support
He

the
de

and
he

which

artist

great

1IS40

Rouen

alabaster

Amboise
of

in

Rouen

1568.

church
of

tomb

at

the

Goujon,

"

appears
15t"4

black

Jean

Goujon.

to

of

perhaps

Paris

in

1541,

Germain

Saint

Goujon

ia

HISTORY

OF

SCULPTURE

slab

I'Auxerrois,

Entombment)

(the

is

Sacrifice,

reliefs

in

1546.

is

with

is without

his

next

several

are

With

years.

the

Diana

"lelicate

the

exceptions
Caryatides,

the

less

chief
and

rather

than
The

power.

Italian

the

of

art

is

evident,
of

genius

individual

no

quisitely
ex-

charm,

Renaissance

Karl.\'

relief,

Their

grace,

of

influence

the

of

low

in

dramatic

or

in

works

sentiment,

vigor

1550

the

carved.

are

was

for

the

all

are

qualities

fact,

reliefs

the

and

works

his

the

Caryatides

building

same

though

between

the
and

Louvre

which

work,

executed

1553;

later.

Stag,

attests

probably

159),

years

the

doubt

document

and

few

tain
Foun-

(Fig.

Innocents

the

Diana

no

the

work,

famous

Paris,

The

is

date

and

1545

most

of

of

ham's
Abra-

years

His

the

Chantilly,

at

other

the

in

with

now

several

from

which

now

altar

The

Louvre.

and

of

one

the
but

the

artist

apparent.
PHon.

(lermain

Germain
"

(15.15-1590)

Pilon
155S

tomb

the

were

of

Fi'iUHE

Nymph,

159.

by

"

Jean

Fouutain

Goujon.

InnoTPtits,

Paris.

of

been

Henri

of

works

BonterapM,
teacher,

who

may

though

some

II.

for

In

follows

he

these

used

may

tomb

his

place

in

for

but

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in

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Fran"^is
put

them

early
of

of

never

the

sixteen

furnish

to

engaged

was

the
have
the

his

style
been
Three

the

Graces,

made

in

1561

to

support

SCULPTURE

the

OF

for

urn

1570)

heart

of

II

II

and

and

in

Here

emotion.

depict

The

de

of

sculptors

took

Oth"r

the

of

the

comers

his

the

ability
other

chancellor

of

masterpiece
the

traiture.
por-

French

great

whom

thn)ugh

French

French

the

sculpture.

Renaissance.

Other

tors
sculp-

"

whose

importance,

some

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Pilon

century,

of

his

are

sixteenth

of

tomb

Ion.

cacy
deli-

and

is

Pi

remarkable

characterize

the

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at

anatomy,

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possession

Sculptors

of

the

Goujon,

the

Renaissance

from

now

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his

of

figures

praying

qualities

figure
in

Birague,

the
four

knowledge

The

kneeling

Italian

Germain

exhibits

same

works.
Rene

Pilon

his

execution,

and

the

Pilon,

the

ratharinedesMedicis(1565-

160)

(Fig.
by

are

Primaticeio.

in

entirely

are

309

FRANCE

Primatieeioand

effigies
queen

IN

Henri

Henri

semi-nude

by

RENAISSANCE

isessentiallytheworkof

king

to

the

Thetombof

style.

The

THE

century,

Barth^lemy

are

lives

extended

Prieur

(b.

into
1540-1

the

550,

teenth
seven-

d.

1)

161

the

best

laume

(1581

of

Pilon's

?-1658),

century.

Jacques
and

(1606-1678)
Michel

(b.

Berthelot

the

(1612-1686)
The

Pierre

pupils,

works

(1558

brothers

of

all

these

Simon

?-1660).

Francois
lived

Anguiers

1648),

d.

1570-1580.
Sarrazin

(1.559-1609),'

Briard

entirely
belong,

GuilGuillain

Gilles

Guerin

and

{1604?-1669)
in

the

seventeenth

of
course,

to

the

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SCULPTURE

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went

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chiefly

known

the

great

knowledge

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life and

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the

to

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vigorous.
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of

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his
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Milo

In

these

of

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portrayed

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seem

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masterly
to

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and

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technique,

represent

ability

are

he

delivering

Alexander,

ability

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this

where

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exhibits
and

by

which
from

Genoa,

Croton,

Diogenes

Marseilles.

date

works

he

Soon

in

Toulon,

at

he

seventeen

in

Angelo,
was

slow

1643.

more

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of

he

in

of

Ville

hand.

relief

desire

de

of

age

once

Michael

1669

the

the

was

somewhat

was

Marseilles

1653

of
to

of

At

Hotel

manner

and

his

the

statue.

horses,

chiefly

Girardon,

to

in

1661

Louvre.

but

but

are

Andromeda,

is

himself.

the

at

From
statues

than

returned

but

the

several

in

for

Caryatides

period.

older

Italy,

exa^erates

which

the

in

Concorde

and

are

years

of

la

of

dignified.

Savoy

winged

as

Prince

charming

de

spirite"l

such

the

of

and

Place

ductive
pro-

ture
sculp-

and

lifelike,

on

the

and

busts,
of

XIV,

designe"l

later

name

in

again

was

the

(now

France.

Italy,

to

markable
re-

ited
spir-

magnificent

Adelaide

are

known

Rohan

portrait

Mercury

from

Puget,

"

His

Marie

Tuileries,

best

hia

of

most

original,

and

Louis

of

of

and

Coysevox's

the

tombs,

work.

skilfully

Fame

ductions
pro-

chief

wonderfully

de

characteristic,

Many
the

whose

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entrance

of

works

the

is

of

statues

decorate

his

Le

The

Sun,
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the

portrait

Diana

the

was

admirably

full-length

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in

is

the

pine,
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where

studie"i.

the

Paris.

of

of

himself,
are

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in

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Versailles

of

of

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of

of

is evident.

(1666-1743),

Horses

doorway

artist.

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Lorrain

nationale),

Coysevox.

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le
is the

over

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at

may

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show

Rape

Versailles,

be

sive
impres-

general

the

Bernini

at

beat

is

workmanship
In

of

Girardon

school

Robert

relief

influence

but

the

and

sculptor.

the

with

his

was

those

of

the

worked

sculptors

modelling

the

Versailles,

at

Though

311

FRANCE

theatrical,

executed.

Brun,

exceptional

IN

and

pompous

admirably

be

pupils

RENAISSANCE

somewhat

is

may

THE

too

tion,
emo-

evident.

exaggerated.

is

312

The

HISTORY

CoiMtou.

OF

Nicholas

SCULPTURE

and

(1658-1733)

Gmllaume

"

Coustou

(1678-1746)

both

works

Their

de

Marly)

at

the

full

Guillaume,

by

chief

graceful

are

(chevaux

the

were

pupils

the

to

life

The

spirited.

and

entrance

of

and
the

the

and
in

Tuileries,

is

Sadne,

the

in

best

the

age

statue

by

Guil-

Guillaume's

162).

is

(1716-1777)

known

his

by

Dauphin,

tomb

human

which

sentiment
in

mingled

theatrical

the

Christian

traditions.
and

of
in

Sens,

at

classical

are

the

portrait

Leczinska,

faith,

the

position.
com-

of

taste

Guiltaume

son

of

admirable

an

laume(Fig.

by

Garden

The

Marie

of

group

Nicholas,

seen

filys^es,

and

Rhone

of

horses

Champs

spirit,

are

is

Coyaevox.

of

somewhat

fashion.

entirely

He

longs
be-

the

to

eenth
eight-

century.
Art

under

Louis

XV.

Art
"

Louis

under

and

grandeur

aim

ska,

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number
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lar,
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of

tors
sculp-

their

The

Coiuilou.

Paris.

works
the

during
Edm^Bouehardon

Bouchardon.

destroyed

were

Hevolution.

(1698-1762)

was

when
of

he
Louis

the
which

fanciful

returned

de
he

to

His

XV.

rue

and

Coustou

Guillaume

subject

was

and

France

ia

the

made
works

Saint-Germain
from

Italy

was

remaining

chief

Grenelle
forces

in

and

club

of

Hercules.

from

1722

to

Cupid

the

1732,

ordinaire

sculpteur
are

fountain

bending
In

pupil

"

of

of

many

Loc"in-

"

Guillaume

by.

Louvre'

rather

tlie

was
Mnrii'

at

(1774-1792)

Sculpture
and

102.

XV

was

charm.

F:aDiIE

aimed

magnificence;

Louis

under
its

XIV

the

in

bow

latter
a

lightly

and

gracefully

treated.

On

the

314

Caffieri.
is

1792)

the

portrait

busts,

partly

soft

statues,

are

elegant

and

all

produced

the

in

Louvre,

Claude
few

and

playful

cupids,

and

children.

Hovdon.
French

Antoine

Houdon
and

ideal

in

his

the

years

old,

famous

work

of
a

monk.

statues

nature.

Empire,
to

which

of

in

among

the

face

Houdon
but
he

most

lived
of

belonged

realistic
Voltaire

his
in

the

figure

are

of

those

of

Mirabeau,

Diderot,

and

the

make

more

clearly

through
work

spirit,

was

in

spite

his

of

very

Franklin,

Buffon,
of

is often

the
the

Revolution

done

Maria

inspired

and

character

the

most

Sta.

earnest,

and

in
but

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Voltaire,

than

also

when

in

Rousseau,

traiture,
por-

Hermitage

Rome.

an

Jean

to

excel

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The

"

Michel

Rome

in

St.

and

which

naturalistic
itself

is

period

de

years

tive.
attrac-

was

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in
could

prix

ten

and

chiefly

he

that
the

spent

Moliere,

extremely
express

and

strikingly

busts,

shows

terra-cotta,

Lemoyne,

Diana

airy

of

for

satyrs,

century

himself

he

chiefly

Century.

of

pupil

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though

graceful,

eighteenth
a

gained

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degli Angeli,

Washington,

graceful

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twenty

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the

work.

nymphs,

Eighteenth

devoted

Louvre)

sculpture.

numerous

who

Pigalle,

also

of

(1744r-1828),

though
(and

the

of

as

his

of

chiefly

are

fanciful,

are

Sculptors
sculptor

greatest

works

They

of

Barry,

Leczinska

is known

statuettes

classic,

du

Clodion,

works,

and

These

Other

Slodtz,

reliefs

porcelain.

or

serious

and

large

only

Boucher,

Marie

called

celled
ex-

purely

examples

good

of

or

Madame

of

statue

are

nude

nor

of

been

museum

contemporary

bust

(1738-1814),

elegant

plaster,

the

the

usually

his

of
The

and

Psyche,

Michel

Louis

paintings

decorative.

of

statue

Charity,

the

has

to

(1730-1809)

natiu'al

entirely

chiefly
he

in

Pajgu

forms,

sculptors

were

which

are

Augiistin

Neither

like

in

His

Philipp)e

himself

busts

his

artists.

Paris,

to

sculpture

of

(1725-

grandfather,

devoted

graceful

and

draped.

his

the

Seven

Fran9aise.

in

Italy

of

of

family

his

Jacques

branch

few.

Com6die

the

Jean

Caffieri

Jacques

and

from

came

by

of

(1678-1755)
who

surpassed

Jean

celebrated

ability.

some

SCULPTURE

"

most

(1634-1716),

OF

Clodion,

Pajou.

Jacques

father,

of

HISTORY

are

sitter
case

and

imder

the

old

the

naturalism

in
the

regime,
of

his

SCULPTURE

OF

works.

Roland,
ties

as

peculiar

Edm"

to

Julien

Vass^

the

but

period,

works

Boizot,

exhibit

the

quaH-

neither
are

those
as

the

{1731-1804),

(1716-1772),

Their

Dumont.

characteristic
so

Pierre

Clociion),

in

were

among

of

315

FRANCE

active

sculptors
them

uncle

and

rule,

French

century,

(the

Adam

IN

RENAISSANCE

other

Many

eighteenth

THE

so

of

the

greater

numerous

nor,

artists.

XIX

CHAPTER

SCULPTURE

Naturalism
the

their

human

saw

feet,

and

the

draperies

body.

beauty
charm.

Mary

figures
St.

John

the

and

scriptural

Of

by

scenes

into

these

the

Franconia,

school

of
is

that

and

Nuremberg.
of

the

groups,

on

the

the

lower
In

for

often

with

Italian

by

The

of

in

painters.
which
may

the

and
seats

was

introduced

schools,

which

centres

Southern.
were

of

in

the

Rhine.
the

Franconia
Here
316

instance,

sculpture

before,

Northern

Jesus

represented

most

"

Nuremberg.

of

successful

as,

as

and

grace

most

be

important.
the

to

than

childhood

men,

many

chief

attention

much

The

were

sculptors,

more

are

group

School

German

group,

the

As

Portraits

Southern
is

Northern

two

with

could

grace.

sculptors

many

divided

who

feminine

such

of

or

hands,

importance

more

subjects.

women

gilded.

were

from

scenes

Evangelist,

of

painted

There

of

of

expressed

favorite

those

are

often

and

were

something

be

is

and

Madonnas
of

or

form,

still

was

seldom

heads,

much

without

for

regard

no

the

tent,
ex-

most

as

naturally

therefore

modelled

were

Sentiment

of

and

nude,

great

made,
or

less

directly.

to

Germans

The

had

studied

little

the
Italian

and

antiquity,

were

with

designed

greater

with

art,

was

which

sculptm-es

beings

by

architecture

from

fifteenth

coupled

of

study

in

as

the

years

ancient

the

setting.

of

Italy,

Nature

itself

were

architectural

earlier
in

Germany,

half

Germany

France.

those

churches

the

as

by

freed

even

for

were,

in

now

and

In

In
"

second

not,

influenced

than

Sculpture

of

art.

was

influence

that

was

ancient

of
which

art

from

which

naturalism,

study

the

GERMANY

IN

Century,

of

sculpture

differed

century

Fifteenth

the

in

France,

RENAISSANCE

THE

OF

Adam

Kraft

important
worked

in

SCULPTURE

Veit

stone,
in

OF

Each

other

school

of

of

as

person.

his

employ,

the

in

best

the

known
for

designs
VeU

made

these

sculpture

to

Veit

Stoss

(14.38

"

the

spent
and

the

work

is

rest

of

his

the

altar-screen

probably

begun

represents

the

life
her

Son.

the

wings
work

faces,

by

is

which

Adam.

of

draperies

Veit

the

medallions

stand

less

Stoss,

Kraft.

from

graceful

vigorous.
of

some

his

are

the

and
of

the

the
the

entire

reliefs

life
of

at

Resurrection

in

Sebalduskirehe.

reproduction

in

stone

the

life

Here

the

tomb

contract,

dated

in
are

cribed
as-

have

to

seems

known

works

Entombment,
on

which

his

reason.

the

Cross,

roses,

Virgin.

works

earliest

Schreyer

paintings

(der

than

due

the

the

work

of

of

other

bearing

of

expressive

beautiful

the

The

Jesus.

and

The

1450-1509)
His

Nuremberg,

Christ

In

Jesse.

wreath

without

(ca.

by

Nuremberg,

Many

Kraft

Adam

and

them

of

Mary

carved

than

Annunciation

the
at

in

"

spent

is

scenes

more

are

deeply

panel

Heaven

attitudes,

known

of

of

was

more

undercut.

Lorenzkirche

Angel

the

but

best

of

Tree

lives

attested
which

into

received
the

Cracow,

central

figures

dramatic

by

is

with

the

made

berg,
Nurem-

at

earliest

The

after.

is

also

Cracow,

at

predella,

The

at

His

city.

Virgin

scenes

in

figures

work,
to

the

sculptor

and

1489-1496

Virgin,

in

probably

is

born

and

soon

the

eighteen

are

chief

earlier

in

Gruss)

which

on

Tlie

this

voluminous

Virgin

or

the

muth
Wohlge-

sculptors

Diirer

was

native

characterized

the

englische
the

above

are

and

1477
of

Below,

The

his

in

others.

?-1533)

(Marienaltar)

in
death

and

size,

life in

and

himself.

by

by

1477-1486

years

guild

work

to

by

Albrecht

executed

the

architects

Nuremberg

at

works.
be

and

modelled

or

Kreuzkapelle

of

Stoss.

carved

of

ascribed

designs

his

close

kind

one

this

In

works

the

to

sculptors,

from

of

few.

not

owing

sculpture

of

were

Wohlgemuth)

to

painters,

there

works

are

Michael

but,

works

actually

not

Deposition
the

Italy,

So

probably

were

The

themselves

in

Vischer

Peter

and

helpers,

examples

(e.g.

confined

and

Nuremberg,

dated

undertaken

were

not,

were

in

his

317

GERMANY

in wood,

bad

painters

some

artists

system,

these

and

many,

sculpture

one

of

sculptors

are

ateliers

IN

Stossalmostexclusively

bronze.

many

RENAI^ANCE

the

1492,

outside
calls

adorned

for

the

318

and

the

planes

and

tomb,

the

remarkable

like

in

the

original

is

the

which

effect

an

of

adorned

with

figure

the

structure,

of

lost.

was

magnificent

much

Kraft's

is

German

almost

pyramid,

churches,

of

some

richly

in

which,

hidden

feet

65

openwork

Gothic

sculpture,

most

about

tabernacle,
This

is

produce

doubtless

coloring

some

do

ent
differ-

was

Lorenzkirche.

spires

in

figures

certainly

an

the

parts

the

with

reliefs,

backgrounds,

pictures,

work

height,

executed

landscape

before

SCULPTURE

OF

carefully

of

effect

stronger

in

HISTORY

the
upper

from

view.

The

reliefs

of

Seven

Stations
the

of

the

the

Cross,

on

to

the

way

of

cemetery
John

St.

(about

1505),

pler
sim-

are

and
more

than

vigorous
the

earlier

(Fig.

works
The

163).
tabernacle

great

evidently

was

famous

the

at

time

its

of

tion,
erec-

for

it
was

Fioi^RB

163.

The

Fifth

Station

the

of

imitated

Ctobb,

in
eral
sev-

"

by

Adam

Kraft.

Nureiiiber|[.

Dr.

(Photo.

F.

places.
Stoedtner,

BerUu,

The

NW.)

picturesque
of

Kraft's

work

of

for

author
of

of

is

the

the

of

the

to

and
of

that
and

the

the

remarkable
like

the

reliefs,

Peter

Flotfier.

of

Vischer

Gothic

of

son

font
from

bronze

in
Ulm

worker,

Wittenberg
to

Nuremberg,

Hermann

(1457),
where,

He

Saxon

some

the

was

interesting
City

the

Scales

Nuremberg,
(1460-1529)

"

the

in

most

of

House

Weighing

tions
imita-

Kraft

Freiberg.

representation

half-comic

Viscker.

led

fiowers,

Madonnas

gateway

PekT

have

instance,

various

which

over

trunks,

tree

churches,

also

may

style

Vischer,

who

moved

his

under

was

cast

ment
establish-

Peter's
manage-

the

OF

SCULPTURE

it

ment,

Peter

gained

is

the

the

Magdeburg,
of

simplicity

St.

Hb

Sebaldus

of

Gothic

sketch

1488,

whereas

done
In

the

art

may

but

clearly

be

due

Peter's

and
on

both

Hans,

Peter

the

work

In

1513

work

the

by

Maxmilian
to

him

Perhaps,
in

called

Emperor

parently,
ap-

Italy

with

part

was

the

visited

considerable.

was

Diirer,

had,

tomb.

their

then,

this
of

Peter

worked

this

bruck
Inns-

to

the

on

FioDHE

great

King

tomb

of

the

received

Hapsburgs.

Theodoric

it

the

best

in
and

younger

productions,
part

no

the

Hans
in

longer

the

assumed

164)

statues

of

Arthur

Peter

by

their

continued

to

of
but

the

that
his

are

the
is

After

style

tombs,

(Fig.

of

statue

existence.

Bronie

"

Innsbruck.

generally

of

The

164.

Arthllr,

two

Arthur

works.
statues

is

and

certainly

He
for

payment
and

statues,

tomb

This
to

sons,

both

the

the

Venetian,

part

and

younger

of

seen.

in

is

monument

the

of

1519.

influence

specifically

is

show,

beginning

the

at

in

was

and

sculpture
the

Italian,

Saxony,

from

work

1507

monument

of

est
earli-

first

dates
the

figure

Ernst

draperies,

important

the

which

between

The

structure

form,

for

ornamented

which

of

of

berg,
Nurem-

at

elaborate

an

works

structures.

figures

and

most

slabs,

Archbishop

sculptured

attitudes

Renaissance.
of

of

tomb

The

simple

free-standing

319

GERMANY

reputation.
either

tombs,

elaborate

these

of

all

are

or

IN

international

an

Vischer

epitaphs,

RENAISSANCE

the
work.

of

one

the

father's
work

in

objects

are

able
remark-

are

bronze

finest

death

Peter

bronze,

but

their

the

most

Renaissance,

small

They

and

tomb,

of

statues

are

of

for

decorative

the

art.

HISTORY

the

Of

lesser

numerous

Peter

was

chiefly

was

and

the

of

Flotner,

but
His

the

Nuremberg

Flettner

or

medals.

of

SCULPTURE

masters

wood-carver,

maker
of

OF

(ca.
also

was

architect,

decorator,
the

In

Lower

Franconia

there

but

merits,

the

only

of

one

sculptors

were

"

various

tion
introduc-

Rensi.ssance.

Italian

Riemenschneider.
of

who

1485-1646),

hastened

activity

portant
im-

most

is

importance

Til-

Riemenschneider

man

who

(1468-1531),

was

bom

at

Osterode

the

Harz,

in

Wiirzhiu-g

least

at

early

to

came

as

1483,

as

was

Burghermaster
involved

became

1520,
in

in

the

rection
insur-

peasant
in

died

in

the

wooden

in

Miinnerstadt

TheCreglinKen

work

Adam

(1493)

doorway

of

the

Virgin

and
the

at

the
at

and

chapel
Wiirz-

the

of

Altarpii

is

altarpiece

the

burg
lfi5.

His

known

(1490);

FiGDRE

wood

stone.

earliest

Eve

Xa'M.

in

in

and

of

in

prison

worked

He

and

1525,

donna
Ma-

the

Neu-

"

Riemensrhneider.

by

Tilmun

F.

Stocdtner.

(Pholo.

Borliii.

munsterkirche
his

show
the

Three

mous

and
works

between

nude

and

of

(Fig.

1499.

The

tomb

in

respectively.
to

an

anonj'-

Riemenschneider

by

at

in

unusual

draperies

the

and

Rotenburg,

165),

that

which,

ability

time

attributed
be

to

now

finest

of

formerly

were

that

(at

treatment

Creglingen

at

1495

the

found

are

the

the

in
which

master

altarpieces
wang,

of

representation

Germany)

(1493)

NW.)

Creglingen,
of

the

Emperor

was

Detcarved

Henrj-

II

322

of

preferred

are

sometimes

serious,

Ulm

or

archaic

than

author

of

which

have

the

the

and
of

for
and

rich
fine

of

medals

in

medals

His

the

the

made

in

Nicolas

chapel,
at

the

the

reliefs

the

along

Upper

fifteenth

works

of

in

the

cathedral,

of

Cardinal

the

Albert

Sigmaringen,

made

many

but

these

At

various

its

At

work.

of

who

of

1487

places

early
and

of

years
at

Malines

in

honor

of

tombs,

also

are

some

in

Italy

series

of

baptistery

of

sixteenth

Margaret
chapel

the
of

her

in

tombs,

husband

as

of

Corrado

century

he

of Austria
church

(1526).

His

the

pressive
imfinest

the

best
of

childhood

Worms
at

employed
of

fective
ef-

Fiammengo.

at

worked

its

Meit,

the

of

scenes

cathedral

Uriel

and

of

Conrad

that

latter

style,

fine

is

of

The

One

the

the

that

powerful

period

reliefs

which,

Metzhausen.

von

known

and

and

broad

is

shade,

the

and

draperies
and

of

two

Mainz,

at

Backofen.

Hans

by

are

So

(1504)

of

the
;

of

decoration

erected

the

series

interesting

are

centuries.

sculptors
was

in

Jesus,

Trier

carved

he

light

Johann

Rhenish

the

Worms,
In

of

that

sixteenth

heavy

of

Danube

Upper

do

time.

same

Lerch.

spective,
per-

them

among

Krug,

the

are

excellent

century,

Brandenburg

(1514),

contrasts

perhaps

fine

von

with

especially,

the

and

is

Gemmingen

von

and

Rhine

gravings
en-

reliefs,

"

the

Old

Fugger

after

artists,

at

the

museum

of

Ludwig

Italy

less
is

of

and

sixteenth

and

mythological

Vienna,

and

chief
Hans

Fugger

bas

Swabian

Meii.

the

architecture,

Kels,

Conrad

Mainz.

Berlin,

the

Dauer

members

small

execution.

stone

the

equal

not

soft

of

ceeded
suc-

and

personages

of

Renaissance

Hans

Schwarz,

Hans

dispersed

Schongauer.

museums

remarkable

and

carved

which

Adolf

stalls

of

tain,
uncer-

graceful

more

the

portraits

are

Adolf

Ulm.

busts

Hans

son

Diirer

the

in

now

up

are

Adolf's
of

and

sixteen

which

Testament,

is

of

natural,

are

sculpture,
were

style

Single

attitudes

Augsburg,

century

broken

been

the

Swabian

school

altarpiece

composition.
figures

At

of

the

of

but

motion.

centre

in

These
;

whose

that

ability

noble

sixteenth

the

SCULPTURE

groups.

little

possesses

family.

to

Daucher,

Dauer,

Berlin

is

as

of

sculptors

less

even

there

and

OF

shows

and

Nuremberg

figures

HISTORY

Brou,
work

in

the

Wittenberg
him

in

which
is remark-

the
she

SCULPTURE

RENAISSANCE

OF

IN

323

GERMANY

able

for

close
Dutch

Among
of

observation

noted.

most

Constance
erick

work

is

III)

Vienna

In

Bavaria

owing,
The

to

figures

presence

expressed

and

naturalism,

of

the

Emperor

in

the

Frauenkirche

dignity

of

Munich,

this

chief

the

Munich

Grasser,

who

and
and

after

that

of

Christ,
in

Apostles
167),

In
"

sculpture,

in

for

of

rich

before

finest

wooden

the

statues

are

and

the
of

twelve

Blutenburg,

slender

more

finer

work,

wood

TjTol

and

the

only

Bruneck.
His

1498.

finest

1480

Munich

near

proportions,
of

sense

(Fig.
sive
impres-

more

than

beauty

other

works.

Tyrol.

Paeher

The

and

in

years

monastery

draperj-,
Bavarian

some

exhibit

mus
Eras-

was

active

was

The

art.

school

Virgin,

the

which

and

monuments

Bavaria

the

work

churches

Passau,

date.

of

sculptures

is

vigorous

for

certainly

(soon

The

many

and

coarse

of

Bavarian,

Hans,

power.

contain

sion
expres-

Munich

master

real

gravestone

the

Landshut,

Katisbon
of

The

at

and

is

in

Ludwig

by

1468),

of

has

clearlj'

no

earnestness

limestone.

ment,
move-

there

composition.

and

predominates,

Solenhof

times
some-

draperj'

Yet

Fredi

realism.

and

and

with

folds,

motives.

the

(1464),

Emperor

sctdpture

marble

pose

the

stiff;

irregular

after

in

simple

often

red

of

vigorous

thick-set,

strong,

are

coarse,

small,

of

is

Lerch)

Strassburg

tomb

stone

"

the

Nicholas

Germany

(1461),

its

workmanship.

Nicolas

as

(the

for

distinguished

Bataria.

in

Baden

at

and

(1470),

delicate

worked
known

Gerhaert,

His

and

nature

who

sculptors

(Claus

Leyden

of

He

altarpiece
and

garments,

shows
for

is

of.

sculptor
is first
of
most

variety

the

almost

mentioned

fully
of

in

pose,

his
and

is
1407

Michael
and

naturalism,
dramatic

died
is

(1477-1481)

for

of

material

importance

Wolfgang

St.

only

his

his

liking
group-

324

art

influenced

was

in

period

Northern
of

the

this

tendency
broad

Netherland

influence

and

works
in

altarpiece

and

Gothic

ornament

carved

figures;

flourished

and

influenced

the

by

some

good

Peter

Vischer

and

Period

of

continues

thirty

Decadence.

until

years*

the

Foreign

German

about

war.

art

school

which
the

and

much

there

the

influence
Such

are

his

and

1512),

gate;

teenth.
six-

strongly

was

Saxony

Ehrenfried

(beautiful

little

into

Wohlgemuth.

painter

finely

was

of
the

helpers,

by

an

known
un-

Annaberg.

at

of

Reformation,

the

elaborate
of

and

shows

Hans

exhibits
a

done,

which

stone,

Pforte"

decadence

of

great

by

its

In

was

the

The

it

local

Nuremberg.

by Theophilus

"Schone

artist,

the

of

(1499-1525),

the

in

sculpture

ductions
pro-

Calcar

hundreds,

the

importance

altar-

(1515-1521),

"

little

and

At

with

in

provinces

interest.

century

Silesia

Under

Baltic

masterpiece

fifteenth

of

groups,

Many

richness

its

than

Calcar,

at

commercial

even

is the

school

of

wood-carving

all

In

Saxony,

simple

Netherlands.

scores,

the

throughout

Silesia

reliefs

This

the

general

dignity.

decorative,

with

invention.

little

the

Dutch

rather

these

Schleswig

at

its

but

detail

the

to

of

the

developed

but

of

wonderfully

is

Briiggemann,

of

of

influence

or

and

statuesque

from

artists

cathedral

the

Flemish

than

Liibeck

and

by

are

rather

countries,

anonymous

are

of

art

many

Schleswig-Holstein.

from

Scandinavian

by

fine

centres

in

exported

were

power

and

cities,

the

chief

local

fact,

material,

than

rather

are

toward

was

the

in

regions

figures

many

effects

pieces

that

by

Tyrolese

Germany

favorite

sculptors

surfaces,

Hanse

these

the

was

the

northern

predominant

in

picturesque

the

In

period

of

also

with

case

his

all

Pacher's

pictures.
and

"

was

Wood

artists.

the

sculpture,

general.

Germany.

of

carved

Bavaria

is

same

Netherlands

works

of
of

that

The

and

paintings

effect

by

Italy.

northern
this

the

produce

and

work,

contain

altarpieces

His

ing.

SCULPTURE

OF

HISTORY

The

of

impoverishment
Popular

art

gave

marked
of

causes

the
way

1530

"

becomes

sculpture
1680.

About

Sculptors.

this

people,
to

court

and

were

and

art,

the
the
and

SCULPTURE

the

OF

called

princes

Flemish

style

Innsbruck

to

Maximilian.
and

emperor

The

the

known

better

He

Italy.

was

with

beginning
director

of

Emperor
Hubert
the

de

Adriaen

Giovanni

character

of

sculpture.
sculpture

had

Hemval

of

Prague

for

this

for

but

other

he

show

the

in

many;
Ger-

the

The

shows
respects

Grput

Elec-

thirty

years'

German

war

exist.

to

ScftliUer.

Toward

the

end

of

the

"

Germans

began

architectural

time

The

German

is

the

He

the
he

again

to

decoration.
influence

first

(1664-1714).

Italy,

as

II.

before

century

strong.

Schluter

to

Sculpture.

chiefly
at

was

Rudolf

ceased

seventeenth

in

who

not

Even

of

pupil

to

was

by

are

sculpture

it

very

Mercury

suffice

names

by

Antwerp,

Emperor

to

Bavarian,

the
is

(1599)

called

sculptor
These

which

of

Bologna,

afterwards

the

At

of

Vries,

of

real

(1593)

Hercules

of

kneeling

reliefs

I, the

Ludwig

Emperor

the

years,

of

fountains

of

statue

was

in

Munich.

Augustus

of

quired
ac-

the

fountain

Gerhard

and
and

in

the

Augsburg

many

158C,

art

tomb

Witte,

style"

for

in

Heidelberg,

at

alabaster

Emperor

had

"grand

the

decorated

Candido

who

Candid,

Peter

or

de

Pietro

as

bronze

condition

Munich,

at

Pieter

by

designed

was

of

who

the

picturesque

tomb

Frauenkirche

finish

to

the

the

castle

the

to

Malines,

the

1562

modelled

carved

SBicophagus.
in

in

He

of

of

Italianized

or

reduced

were

Colin,
facade

the

Dutchmen

courts

325

GERMANY

IN

sculptors

Alexander

artisans.

called

their

to

German

Flemings.
of

RENAISSANCE

of

Italian
is attached

Italian

sense

baroque,
is

sculptor

probably
for
rather

at

some

monumental
to

the

ture,
sculp-

influence,

Foreign
the

important
was

practise

Dutch

is

Andreas
time

in

effect,
schooU

326

which

first

His

bronze

statue

of

(Fig.

168).

The

court,

of

arsenal

the

the

marble

upon

other

and

clouds,

works
of

German

chief

not

representative

aimed
of

study
a

the

work

fishes.

the

other

Various

Schliiter
and

about

His

chief

and

and

not

often
tude

little

some

of them,

produced

and
Peter

altars
fine
so

shows

sense

much,

Wagner
and

of

he

might

raised

spouting
rivers

of

individual

good.

Pressburg,

and

Grermany,

as

worked

skilful

In
"

with

decorator.

(1732-

connection

sculpture

much

with

created,

was

decoration,

as

in

individuality.

though

exaggeration

(b. 1730),
in

pulpits

beauty

Here,

Messerschmidt

much

and

four

who
a

marked

really good

executed

hundred

one

not

is

expression.

over

he

of this

carelessly
and

architecture

rococo

last

with

of

sculptors

of

marks

execution

south

Wagner.

Peter

Sculpture.

the

than

the

through
He

very

Vienna,

Xaver

portraits

form,

the
not

the

more

Franz

was

produced

Decorative

the

was

none

successor

baroque

Of

to

is

(1692-

His

are

in

are

entirely

north.

of

urchins

and

was

He

Vienna.

heads

excellent

Donner

belongs

Donner

who

1783),

of

works

the

to

is

He

figure (Prudence)

basin
the

Schliiter's

Donner

rococo.

nude

the

of

antiquity.

female

long,

are

design

He

Salzburg.

of

Mannlich,

style.

Neumarkt,

nearly

edge

figures

general

seated

are

the

The

the

is

the

and

sporting

identified.

beauty

and

the

pulpit

angels

Many

extent)

in

marble

Raphael

and

in

period

same

baroque

now

warriors

originality.

Georg

truth,

fountain

time

goldsmith

not

of

baroque

which

Round

and

some

the

basin,

about

Austria.
but

is the
of

base

(to

against

centre

on

and

nature

reaction

ripest

simplicity,

at

the

of

The

later.

great

"

1741)

(cast

the

the

of

Messerschmidt.

Donner.

III

marble

of

small

but

ability,

tomb

are

Frederick

djdng

to

its

slightly

or

1697),

work.

with

the

are

lost

are

artist

brilliant

(1703)

Nicolaikirche

the

belong

successful

statue

of

early

(cast

equestrian

Berlin

most

Marienkirche

the

of

his

very

III

masks

in

not

statue

twenty-one

Schliiter's

constitute

is

Frederick

finest

at

Genhany^

importance

equestrian

is

Berlin,

SCULPTURE

northern

Elector

His

in

an

of

the

1700),

in

in

work

Konigsberg.

of

"OF

predominant

was

days.

in

HISTORY

and
have

who

been

of
a

of atti*

produced

Bavaria,

harmony

it is

show^s,
line

great

in
had

artist.

CHAPTER

SCULPTURE

XX

THE

OF

RENAISSANCE

NETHERLANDS

AND

The

Earlier

Sculpture

IN

IN

THE

ENGLAND

Netherlands

in

Netherlands.

the

Before

discussing

"

the

of

sculpture

words

the

Unfortunately
the

of

very

great

part

the

destruction

cannot

works
There

character,
the

In

the
these

In

the

their

sculpture

They

are

to

art,

but

in

(see

Dijon

at

exported

from

be

in

found
Small

the

nearly

groups.

Netherlands

252),

and

Janin

the

Claus

and

The

works

great.

very

of
art

others
of

was

country

Sluter

many

number

Netherlands

Dimensions.

simple

the

213),

every

figures,

Europe.

page

at

duced,
pro-

few

in
of

page

lands,

foreign

school

relatively

(see

Spain

art.

were

throughout

in

national

Rhenish

monuments

sculpture

importance

art

in

Sculpture
sculptors

the

early

or

or

arranged

and

dignified

the

existence.

important

an

was

contained

century

fellow-workers

practised
of

and

in

little

French

funereal

which

Pampeluna,

at

his

and

of

great

Ix)mme

there

prove

of

many

showed

was

how

may

Romanesque

upon

interesting

1914

longer

no

little

dependent

reliefs

are

there

century

fifteenth

atitAined

what

in

began

and

existed,

Certainly

been

have

was

natural

that

war

second

destroyed

1566,

then

times.

the

in

in

which

determined.

and

where

iconoclasts

presently

fourteenth

Tournai,

and

be

to

but

the

few

earlier

of

especially

the

mentioned

sculpture,

of

Netherlands

sculpture

sculpture
in

seems

Gothic

the

yet

be

to

the

century,

of

the

in

to

ravages

sixteenth

great

be

to

Renaissance

devoted

be

must

half

the

Europe.

in

which

the

"

of

the

sculpture

Netherlands
of

small

excelled

dimensions,
327

is

not

great
for

the

monumental
most

part

\5x

328

HISTORY

rather

than

for

fine

some

at

Louvain,

An

early
in

Clerc.

This

is

which
choir

The

in

was

which

the

and

few

of

were

of

wood.

in

1390

earliest
de

Jacob
of

in

draped

Hakendover

The

figures

are

isolated

but

the

church

village

well-draped

of

realistic.

Gothic

with

and

is

the

awkward,

end

of

the

of

the

there

century,
in

small,

simple

monumental
the

Gothic

erection

lifelike

now

from

the

fifteenth

recording
style,

new

was

reliefs

the

toward

the

1533)

ordered

trifle

of

figures

the

clad

in

garments.
Art

The
was

the

Altar-pieces.
is

sculptures

With

and

many

in

were

The

employed.

setting.

doubtless

of

Netherlands

the

conventional,
made

scenes

In

Hal,

was

represent

of

groups
a

these

figures arranged

or

something

in

are

Picturesque
pieces

figures,

hundreds.

number

Bold,

the

of

reredoses),

at

the

made

beginning

thirteen

of

terial
ma-

Stavelot),

at

(as

heavy,

are

was

(as

greatest

garments.

which

have

which

groups,

gilding

the

in

or

some

style,

voluminous

the

reliefs

and

sculpture

by

some

Philip

by

Its

reredos,

fourteenth

Baerse

of

use

silver

famous

most

Dijon.

Testament.

and

and

roofs.

favorite

the

century

far

vain,
Lou-

at

Chartres

(retables,

and

but

alabaster,

Museum

New

Gheel),

at

But

altarpieces

and

that

vaulted

of

frequent

gold

than

so

adornment.

fifteenth

of

(as

The

those

was

Nicolas

(1539)

the

to

Pierre
Lierre.

and

less

iire

Hal,

at

Jacques

"

most

the

were

with

from

in the

the

in

stone

faced

were

Saint

St.

and

much

sculptured

of

made

altarpieces

but

Altarpieces,

adornment

were

Some

Wood.

wood,

was

in

as

Meyere

resemble

picturesque

in

Scidpture

there

Martin

pyramids

mentioned

their

in

Amiens

in

sculptured

screens

St.

Lattem,

van

that

or

as

paratively
Com-

though

stone,

in

elaborate,

already

rise

furnishings

themselves.

tabernacles,

tabernacle,

(1535)

Pierre

St.

and

Henri

by

1409

chm'ch

Dixmude,Tesserenderloo,

typical

and

of

is

screens

Aerschot,

at

erected

in

choir

stone

of

buildings

work

this

of

the

of

that

little

adornment

the

for

employed

relief,

SCULPTURE

OF

all

of

considerable

them

The

brightly
were

liveliness,
are

numbers

of

the

altar-

anecdotic,

and

art

picturesque,

reliefs

their

"

colored

and

framed

in

they

merely
by

are

much

florid

more

industrial
workers

or

less

works,
in

large

scrollwork

eons,

the

in

even

of

productions

earlier

the

rise

skilful

originality.

be

figures.

Jehan

Mone
could

works

the

be

seldom

exhibit

sculptors
mentioned.

be

first

the

by

but

the

chief

the

examples

given,

need

of

Hal,

at

and

few

the

arrangement,

Many

might

been

expression

Martin,

sance.
Renais-

changes

the

the

mediocrity,

Onlj-

had

the

Renaissance

complete.

names

of

style

then

Saint
is

many

above

the

and

of

change

and

cited,

the
which

art,

attitudes,

altarpiece

(1533),

in

fully

framework,

the

the

SCULPTURE

altarpieces,

the

ornamental

drapery,

OF

are

"

So

In

HISTORY

little
du

Jacques

of

q,

(b.

Mons

tween
beand

1500

1548).

d.

1510,
studied

Rome

in

returned

and
Mons

to

in

1535.

works

His

are

in

chiefly
native

his

town.

His

is

style

of

that

sance,
Renais-

.the

retaining
little
of

nothing

or

mediaeval

the

the
rood-screen

elegance

which

Cornells

de
in

chief

Sainte

of

calls

art

tabernacle

of

(Fig.

this

though
evidence.

documentary
rich,

Sculptors

and

Roeskilde,

who

but

he

worked

of

tomb

the

choir

last

is

His

work

shows
in

northern

the

great

no

the

manner

and

grace

Goujon.

His

(1551),

Leau
of

at

or

Tournai

his

and

pleasing,

Comelis

of

without

him

to

power

the

Christian

screen

of

serves
pre-

origin.

attributed
is

the

1518-1575),

tabernacle

Zuerbempde,

at

169),

the

are

his

of

Jean

or

(Antwerp,
of

trace

no

works

extant

Sansovino

Florls

or

work

has

Mons,

at

mind

to

Vriendt,
his

Denmark,

Waudru,

of

Some

spirit.

ration
deco-

originality.
de

Vriendt

RENAISSANCE

THE

in

sixteenth

the

the

century

Coecke

Pieter

Colin

of

of

tomb

de

Jean

has

Prague

of

sixteenth

resembles
done

in

town

hall
The

Baroque

de

citizens

the

of

figures

the
the

in
the
the

of

even

family
the

of

of

the

town

and

power,

nephew,
in

hall

his

churches.

bniggen.

his

Still
The

and
made

were

tombs

and

known

The

eldest

is

Amsterdam.

He

influence
the

another

father,

and

family
Pierre

of

or

of

the

admitted

Quellin

and

the

further

one

fication.
quali-

decoration

into

Verbruggen

to

Artus

sculptor

sculptors

members

son

made

Ghent

Quellin,

of

of
little

no

His

Germany.

(1625-1700),

younger

Amsterdam

of

(1602-1654).

sculptured

extended

and

tomb
at

was

1618

chiefly

of

family

was

was

in

was

Bavon

name

the

time,

Fiamingo,

without

the

Italy

admirable

His

1606.

mentioned

work

his
who

to

St.

the

in

(1594-

of

Jerome

three

artist

is

the
of

brother

of

churches

activity

J-'rancesco
is

bore

in

of

went

His

church
his

the

best

Quellin
at

the

by

name

at

as

Belgium

of

chief

Artus

work

in

Luke

the

His

but

Duqueanoy

Francois

Artus.

St.

the

Jan

Duquesnoy,

death.

sculptors

each

is

when

the

lands.
Nether-

were

sculptor

Jerome

his

in

named

(1609-1668)
meant

him

finished

and

guild

in

tury
cen-

the

works

Flemish

known

Trieste,

family

style

Francis

1641.

was

by

was

was

is

(1531).

in

number

Ghent.

until

he

of

Quellinus,

seen

until

work

Another

in

sculptor,

where

this

this

seventeenth

Itrecht
Their

l.iOIJ.

are

"

there

Bishop

kind

"

Brussels

only

which

same

Schelde

this

in

from

distinguished

remained

Rome,

of

the

in

half,

the

abundantly

artists

in

and

most

son

at

of

In

came

Antwerp

Brussels,

1642),

and

who

active

earliest

saints

Antwerp,

mental
orna-

"

Noie,

of

first

der

van

flourished

style

baroque

Robert

the

example

Netherlands.

much

was

work

Paul

hy

ike

in

and

("grotesques")

in

famous

most

of

Alexander

Innsbruck

There

contemporary

Audenarde,

at

Among

was

the

were

artist
and

at

scrollwork

especially

The

Italy.

the

putti

century,

closely

work

mentioned.
and

unknown

Gheel,

at

whose

them

among

the

1559)

(d.

been

already

(1507-1550),

Merode

331

NETHERIANDS

numerous

(1529-1622),

sculpture
the

THE

were

Alost

Colyns

or

IN

him

assisted

for

statues

many

is
the

that

elder,

of

Verwas

a.

332

his
a

his

of

pupil
two

in

gifted
is

of

with

its

Adam

and

from

all

of

Francois.

their

works,

by

representation

of

(1627-1707),

Li^e

of Malines.

Franyois

expulsion

Lucan

Fayd'-

these

of

and

many

for

more,

consists

the

number

chiefly, though

furnishings,

choir

communion

benches,

and

freedom

of

In

the

in

the

century
of

The

which

invention
and

sometimes

his

and

wood

to

marble.

classicism

toward

in,

set

Godecharle,

Lambert

was

pulpits,

gorgeousness

and

Rubens,

reaction

church

of

much

these

transferred

seem

great,

was

stalls, confessionals,
In

of

time

exclusively,

displayed.

paintings

leaders

at

tombs.
is

this

means

no

altars,

and

portraiture,

the

Brussels

by

skill

eighteenth

of

one

sculptors

screens,

technical

great

ability

of

of

sculptors

and

works

The

this

however,

well-known

Other

of

Henri
the

of

Hardly

work

some

Brussels,

at

paradise.
of

(1617-1697)

herbe

Gudule,

Henri

is without

famous

picturesque

Delcour,

and

teacher

the

and

Quellin,

Antwerp

most

Ste.

Eve

Jean

Artus

younger

native
The

pulpit

(1700),

are

their

family.

the

the

Pierre

SCULPTURE

OF

brother-in-law,

sons,

church

HISTORY

of

(1750-1835).
England

Period
Gibbons.

ling

The

"

decadence

in

monuments

show

tombs

the

of

made

were

little

by

alabaster

in

good

carvings

connection

The

which

Flemish

adorned
is

contains

of

VII,

with

very

influence

Henry

purely

exceptional
is

ornamental
with
"

evident,

on

which

and

also

were

century
mere

were

in

mercial
com-

the

there

century,
much

was

The

chapel

examples

Westminster

on

imported

as

stone.

fine
in

English

part

early

castles

and

wood

few

sixteenth
but

of

brasses

most

the

went

Cambridge,

chapel

the

Netherlands,

popular,

churches
of

the

In

building

carving

work.

the

still

with

ornamental

College,

richly

from

were

Much

King's

are

sculptures.

work.
and

century

time

important

engraved

for

Gritir'
a

the

and

foreigners,
The

is
of

Most

ability.

artists

decorative

many

of

Stone.

Renaissance

sculpture.

work

fifteenth

the

of

period

the

Nicholas

Tombs.

English

are

sculptors

or

Decadence.

of

of

of

such

Abbey,

sculpture
figures.

In

gives

them

and

is

also
"

these

some

variety

of

THE

and

poae

figure

action.

of

da

the

VII

the

in
work

of

Rt^vezzano

Wolsey
but

These

Henry

Richmond

their

which

and

the
of

other

Italian

last

(see

exercised

by

tomb

art

from

the
where

England,
middle

of

highly

ornamental

erected

much

the

in

beautiful

English

Netherlands

In
tombs

the

was

Nicholas

supervision

St,

Paul's

It

to

before

the
many

alabaster

The

architect

in

art,

came

is

neither
native

who

Inigo
and

were

chief

(158G-1647),

the

now

native

sculpture

execution.

Stone

is

England,

century

and

figure

of

in

Renaissance

marble

in

Cardinal

Wotminater

seventeenth

their
fine

for

completely

the
of

but
nor

the

triumphed

century.

design

sculptor
under

had

it

England,
in

that

Benedetto

Netherlands.

stone.

was

Abbey

upon
the

of

Margaret

worked

of

The

art.

and

295),

influence

the

of

English

Westminster

page

also

little

affected

in

designed

sculptors

Italian

effigy

VII

Henry

of

examples
of

bronze

295)

page

ENGLAND

coming

PietroTorrigiano

(see

more

the

are

the

chapel

works

was

IN

before

sculpture

tomb

are

RENAISSANCE

worked

Jones

holds

the

and

body

334

HISTORY

made
of

tombs.

many

the

tombs

duke

of

He

Sir

of

(d.
These

period.

and

sculptors,
these

of

tombs

170),

(Fig.

its
hold

men-at-arms

of

copy

the
is

children

interest.
He
in

early

designed,

was

of

part

Cambridge,

in

other

churches.

The

Eighteenth

and

In

the

sculptors

Peter

The

chief

Scheemakers

Joseph

makers,

was

is

not

Nollekens
the

without

Rome

something

and

the

portrait

many

and

his

Thomaj^

affected

was

of

of

English,
merit.

J.

neo-classic

by

Banks
ancient

manner.

the

pupil

important'

(1694of

John

especially
(1735-1805)
art;

and

(1695-1762),'

trusts.

work,

Bacon,

Rysbrack
a

and

French

of

M.

Sir

College,

John

(1737-1823),

author

was

and

the

London,

Paul's,

most

skill
In

Trinity

Roubiliac

were

(1691-1773),

1770).

(1740-1799)

them

among

St.

of

under

century
in

his

wood.

Foreigners,

employed

were

in

out
with-

native

worked

seen

eighteenth

"

works.

of

screens

Century,

Banks,

Flemish

be

may

in

are

duke's

are

exercised

he

century

work

stalls

figures

flowers

and

the

was

who

effigies

of

figures

sculptor,
fruit

almost
The

the

(1648-1721)

skilful

kneeling

is

armor,

allegorical

the

eighteenth

the

four

monument

Gibbons

His

which

kneeling

but

realistic

the

Wren.

Thomas

carving

Christopher

in

the

Grinling

Holland.

largely

and

monument

Vianden-Nassau.

of

Villiers

the

of
either

Vere

with

this

work

connects

The

II

minster
Westof

the

is

evidence

covered

in

England

in

over

artist

Villiers,

both

monument

effigy,
slab

George

wife,

Stone.

the

as

and

tombs

finest

Villiers

In

well

his

Engelbert

good,

are

and

recumbent

of

fine.

exceptionally

1628),

Nicholas

up

tomb

execution

1607)

documentary

no

with

with

(d.

the

the

regarded

Vere

are

Apparently

SCULPTURE

generally

is

Francis

Buckingham
Abbey.

two

OF

his

Schee-"
Bac^n

portraits,
studied
works

in

have

XXI

CHAPTER

SCULPTURE

RENAISSANCE

THE

OF

IN

SPAIN

"

old

the

and

university

the

Such

called

work,
An

Renaissance.

of

portal

the

and

Influences.

stalls,

cnurches

in

forei

doric

from

and

sencia

the
Seville
and

increased

of

parts,
these

splendor

Jean

de

is

the

171),

by

Toledo

Holland,
at

least,
works
and

in

carved

the

of

the

the

artist

style

is

of

German

Fleming,

in
stalls

battle

Zamora
at

Pla-

scenes

altarpiece
of

the

royal

altarpiece

great

magnificence
33r"

the

wonderful

the

was

work

lively

work

the

Leon
at

their

fifteenth

the

are

at

were

with

the

and

stalls

Aleman

Rodrigo

wood-carvings

"

Malines

the

wrought

of

Copin,

In

ments
ele-

(Fig.

centuries

Frenchmen

Dancart

some

(1507).

those

Fleming

the

of

Salamanca

fine

altarpieces

with

three

1516

to

of

names

and

1512

to

triumph

Toledo

Many

sixteenth

connected

are

Hdjander,

the

of

part
the

jners

The(

early

the

example.

Renaissance
at

at

"

screens,

"

and

Cruz

Santa

fine

(1494-1514).

Egas
Artists

Foreign

of

university

facade

resemblance

final
the

rich

the

its

the

which

the

in

than

hospital

de

Enrique

in

example

strojiger

are

from

until

prevalent

is

is

ployed.
em-

flamboyant

which

1480)

plateresque,

still

produced
of

(about

some

Cordova,

was

of

decoration,

Salamanca

at

decoration,

goldsmith's

of

style

style

elements

in

at

combination

mudejar

French

and

mosque)

the

art

Meanwhile

strong,

mudejar

the

the

times.

still

pure

the

century

supplanted

earlier

(formerly

places

characteristic

and

in

were

in

Renaissance,

Gothic,

had

Spain

cathedral

other

In

of

in

decoration

ptucco

fifteenth

Germany

traditions

the

in

as

of

prevailed

mvdejar

places,
fine

and

had

A^hich

art

the

"

Netherlands

tht

of

In

Decoration,

Pl^jUeresque

at

northern,

being

Spanish.

at

tombs,
Toledo

only

the
TVna

336

HISTORY

FiouRS

171,

Portal
"

OF

of

the

Hospital

SCULPTURE

of

SsDtaCniif

Toledo-

det-orative,
to

the

iiuire

Sculptora
in

prominence

tliaii

Spunibii

sculptura

elements.

Arab

Italian

Spain

giving

the

fifteenth

lit

Spain.
ceiiturj'.

"

Italian
Between

sculpture
1417

and

came

1421),

to
a

SCULPTURE

OF

Giuttano

Florentine,
Ghiberti

the

on

at

Valencia.

was

made

in

His

and

his

Renaissance.

In

Francesco

and

also

was

Isabella

(1517)

Domenico

dl

Pedro

de

also

glazed

di

chief

works,
exercised

probably
Italian

sculptors

Carrara

marbles,

serve*!

Spaniards

de

Sigiienzar
Fancelli,

stj'le.

gifted

group

doubt

no

the

style

de

the

Juan

Baeza,

Vasco

chief
de

Spanish
la Zanza,

sculptor
who

retains

Spain.

In

chapel

Renaissance.
of

"

Granada

royal

At

Domenico
Guillen

and

Talavera,

Castile
in

the

in

together
in

Style.

Francisco

"

The

in

also

"

worked

Almonacid

Genoa,

the

leadership

de

finished

at

Italian

to

sculptors

Spanish

other

in

style.

doorway

1528.

statues,

trade

the

Italian

of

in

Several

chiefly

on

the

under

Pietro

there

Renaissance

the

Seville

to

Robbia.

the

adopted

the

Castile,

Francisco

Toledo,

who

made
in

of

the

adopt

to

Pradas

decorated
in

of

style

Somewhat

terra-cotta

and

carried

Sculptors

were

(1522),

of

the

Florentin"

influence.

Spain,

was

quick

Garcia

in

Diego

Don

died

painted

considerable

which

Spanish

and

Cardinal

brought

della

and

of

time.

the

1526

of

worked

spread

to

Early

Juan

series

tombs

had

Juan

Florentine,

"Miguel

Pisa,
of

in

Don

Ferdinand
of

same

and

Martino,

Archbishop

the
of

Seville

of

the

Italian

Florentines,

Infanta

terra-cotta

at

was

about

the

architects

works

attributed,

Francesco,

polychrome

Torrigiano
His

be

of

Milanese,

the

and

Aragon.

altarpieces

two

as

whom

to

before

in

style

tomb

Toledo,

at

Seville

at

Nicoluso

of

are

Fancelli,

also

worked

earlier
the

Sandro

may

tomb

double

Granada

at

his

tine,
Floren-

undoubtedly

two

Granada

at

the

and

Mendoza,

Hurtado

worked

The

Avita

at

Indaco,
and

employed.

(1512)

Granada

Valencia
A

prevail

the

cathedral

at

was

(1523),

and

carved

Saragossa

at

style

in

the

1812)

1542,

all

are

Murcia

1520,

settled

Jaca

at

Jacopo

about

sculptors

silversmith.

Italian

Saragossa

at

in

scenes

after

under

baptistery,

Pisan

was

the

altarpiece

stalls

the

worked

(destroyed

until

making

had

in

who

there

of

biblical

by

Moreto,

influential

door

with

1469

worked

chapel

bronze

altarpiece

after

who

339

SPAIN

IN

Pc^gibonsi,

panels

soon

and

and

da

An

Giovanni
1513

RENAISSANCE

earlier

alabaster

twelve

THE

was

the
the

ornamentation

tian,
Sebasnew

highly
of

340

of

the

tomb

of

Toledo

whose

after
where

his
are

Catalonia.

Henares,
make

begun

by

tomb

of

the

Granada.

For

assimilated

had

He

Borgona,
of

great

trassagrario

the

.-nost

stupendous

Flemish-Gothic

and

his

Granada

some

work

last

(Fig.

Renaissance

his

ruguete

(1480-1561)
Pedro

Michael

his

he

took
are

Cisneros,

at

the
in
His

exaggerated.

couch,

Carrara.

he

has

of

one

car\^ed

the
of

d.

1543),

the

most

(1500-1505)
Burgos,

at

altarpieces,

of
in

In
1520

general

figures

the

the

the

173).

Toledo,

at

royal

adopted

in

(Fig.

cathedral

chapel
style

in

of

last

work,

the
of

he

of

the

and

to

carved

the

marble

tomb
Ordonez.

of

of

on

Cardinal
His

works,

was

for
but

somewhat

Juan
his

de

funeral

Ximenez
most

the

pupil

and

Cardinal

extended

of

tombs

Angelo,

tomb

Ber-

as

Spain

Spanish

from

most

son

in Rome

was

Michael

cardinal
the

Castile,

returned

he

the

Alonso

was

Nava,in
1506

But

"

Renaissance

designs

style

Fancelli

Influence.

He

the

imitation

by

the

Valladolid.

represents
in

his

Paredesde

In

Angelo.

figures

Tavera,

of

Berruguete.

established

which

begun

of

Borgona;

Spanish

stalls

and
of

sculptor

Spanish

soon

at

removed

had

workers

to

Mad

he

cathedral

the

altarpiece

Pupils,

famous

of

time,
in

great

which

in

1 74)

de

hundreds

the

is

his

screen

the

the

he

at

and

completely.

Berruguete,

painter

of

of

series

Cisneros,

work

Burgos,

at

of

with

in

family,

of

thedral
ca-

style completely.

born

the

de

works

the

by

(Felipe

but

style,

carved

plans

Vigami

of

The

the

Joanna

rapidity

Italian

altar

and

1520.

sculptors

Spanish

he

his

the

the

Later

to

origin,

Burgundian

important

in

finish

Fonseca

Fair

and

died

Felipe

"

the

ease

he

the

in

Renaissance

Ximenez

for

Philip

according

finished

were

Fancelli

greater

where

Carrara,

Cardinal

of

that

including

tombs,

Burgos,

Barcelona,

at

the
to

upon

of

screen

of

works

tion
decora-

"

atelier

choir

other

Rodriguez,

rich

too

1514)

his

Ordonez,

the

called

soon

was

in

Juan

"

an

of

(d.

and

was

rich

established

important

first

He

pupil

Bartolome

reliefs

Albomoz

style,

is the

Parral.

and

statues

the

chief

Italy,

in

de

Gothic

work

at

sojourn

Carrillo

the

His

all.

church

the

of

of

important

most

SCULPTURE

Alonso

traces
at

none

OF

bishop

the

few

works

to

HISTORY

extensive

de

OF

SCULPTURE

work
in

is the

which

the
great,

the

imitator
and

decoration

of

exaggerated
of
its

Michael
effect

RENAISSANCE

THE

the

stalls

attitudes

seen

in

of

and

Angelo.
Is

IN

the

cathedral

powerful

Berruguete's
many

Spanish

341

SPAIN

of

Toledo,

forms

betray

influence
works

was

of

the

342

HISTORY

OF

by

Altarpiecc

Inocencio,

nephew
and
well

Michael

Caspar

Angelo

de

in

as

much

as

Granada.

BorgoQa.

and

imitators
Francisco

(1520-1571),

Italy
of

de

Tordesillas,

Becerra

studied

sculptor,

Felipe

pupils

Caspar

Tudesilla.

as

his

Among

RenabMance.

SCULPTURE

and

Berruguete.

was

were

Giralte,
painter

an

his

imitator

as

of

SCULPTtniE

OF

Damian

THE

RENAISSANCE

Formeni.

In

where

his

In

he

1509

went

this

of

many

the

is

la

by

Forment's
the

influence

of

TkeLeoni.

Leoni
of

Leone

the

Arfe

de

were

in

Italy

Rojas

and

of

triumphant.

and

(d.

and

the

by
origin

of

of

the

the

is

where

his

chief

works.

third

Juni

His

and

He

sculptures.

His

example
Portuguese
by

his

an

impressive

or

Virgin
of

Manuel

St.3runo,

Fernandez

and

of

Sorrows

emotional

the

used

work.

of

de
moned
sum-

Of

is

Segovia

is

Martinez

near

emotion.

Juan

de
his

on

able
remarkThe

statuarj'.
known

his

are

freely

is

his

Valladolid,

like

Miraflores,

Juan

was

of

color

polychrome

monasterj'

powerful

in

Valladolid

(1600?-1667)

Roldan.
Juan

Swords

the

expression

in

Cristobal

masterpiece.

at

Cross

de
also

palace.

(1566-1636),

sculptors,

Pe},rera
at

the
in

of

settled
of

Virgin

excells

Spanish

most

He

family

was

sculptor,
a

son

Juan

century

build

to

from

Descent

Hemandez,

and

known.
and

Entombment

masterpiece.

Gregorio

is

Oporto

and

MmUa^es,

sixteenth

bronze

royal

figure

Seville,

II

artist

in

goldsmith,

kneeling

architect,

of

certain

nothing

Pompeo

is the

bronze,

Peyrera,.

middle

bishop

son

father
of

statues

bronze

painter,

1614),

Philip

group

"

Juni

under

and

Leone

incrusted

archbishop

the

his

Rage,

Hemandez.
Before

and

primaril,\'

His

note.

allegorical

an

upon

though

JuandsJvni.
Gixon.

mingo
Do-

Renaissance,

Charles

sculptors.

court

gilded

Sandoval,

at

Santo

completely

(1509-1592)

kneeling

of

(1523-1603),
of

of

completely

Under

remarkable

Escorial,

sculptor

sance.
Renais-

"

trampling

the

produced

the

the

came

but

altarpiece

Barbastro

master,

Leoni

the

works

Charles

in

their

of

style

\\a

traits,

alabaster

is

great
In

(1511).

altarpiece

of

that

the

Berruguete.

(d. 1608),

various

of

the

like

the

school.

local

carved

Pilar

the

Valencia,

Gothic

Forment's

JuandeArje.

Italians,

two

in

Berruguete,

pupils,

La

wooden

and

Calgarda

introduced

of

in

he

some

entirely

also

but

(1520),
de

of

retains

still
are

true

church

the

work

figures

This
Huesca

as

of

of

the

of

here

of

sculptor

1541)

influence

Saragossa;

to

altarpiece

architecture

the

show

(d.

343

SPAIN

chief

Fonnent

works

early

alabaster

Damian

was

the

Aragon

"

Renaissance

IN

chiefly
Burgos,
Montaiies

344

(ca.

His

find

their
St.

the

element.

proper
of

Jerome

Cadiz

(1630).

school

to

His

the

at

and

otent,
omnip-

in

which

poignant

works
are

the

Santiponce,

Immaculate

St.

Conception
Seville

at

his

emotion

familiar

most

near

Christ

Passion,

express

continued

was

the

other

altarpiece

and

(1641),
His

the

of

ability

of

figures

are

Christ

his

and

piety

in

exclusively

works

and

dying,

SCULPTURE

almost

noted

most

Christ
fervent

OF

worked

1564-1649)

Seville.

at

HISTORY

Bruno

Seville

at

Pedro

by

Roldan

Juan

(1624-1700),

An-

"

tonio

Gixon,

Luisa

and

others.

Roldan

(1656-

daughter

1704),
Pedro,

was

and

talented

of

sculptor

of

terra-cottas

large

religious

ures
fig-

and
groups.
AUmso

Cano

School.
and

of

as

St.

St.

the

with

Anne

"Soledad,"

to

power

Mora

express

(1638-1725),

the

of

the

the

in

skill

emotion.

His

Pedro

chief

Mena

de

San

(d.

head

Juan

use

pupils
1963),

of
de

Jesus,

of

the

at

show

color,

St.

Dios,

and

Granada,

at

the

cui^

him.

to

Bruno

Infant

all

Virgin,

his

of

hospital

and

Virgin

technique,

of

mastery

the

figure

in

works

are

the

tor,
sculp-

many

ascribed

Cartuja,
175)

as

sculpture

His

(Fig.

He

prolific

though

Baptist

(1601-

than

rently

is

Granada.

more

painter

the

chief

Ciino

was

of

of

the

1667),

John

the

successors

Montanes
Alonso

kit

Among

"

pupils

and

the
his

and

his

Jose

were

and

de

Diego

de

'

Pesquera,
The
ciUo

Baroque.
and

Other

The

Chirrigitera.
Sculptors.

In
-"

the

Eighteenth
latter

Century.
part

of

Zar-

the
seven-

XXII

CHAPTER

IN

SCULPTURE

MODERN

NORWAY

for

the

of

the

Baroque

XV,

These

exaggerations

may

the

dependent
the

the

and
Ancient

than

the

in

change

should

The

of

town

Possagno,

Giovanni
and

of

success

spite

in

began

(1757-1822),

who

his

able

was

to

which

that

Here

of

the

of

Bernini.

he

classical

to

classical

the

was

born

at

by

the

sculpture

revival
the

of

opposition
He

was

the

to

great

artists

very
a46

fame
who

productive

followed

Venice,

Eurydice,

him
and

little

Senator
at

and

enabled

Icarus

rose

the

almost

to

"

1779.

Greek

was

Orpheus

"

and

more

of

reversion

study

works

early

learned

remains

Assisted

Venice.

Daedalus

Aesculapius,
Rome

he

Falieri,

the

who

near

sance,
Renais-

models.

classical

sculptor

Canova

Antonio

of

the

therefore,

natural,

had

art

History

the

existing

form

less

ture
litera-

ancient
of

of

sculpture,

the

of

"

the

was

of

take

imitation

and

Canova.

was

It

development

inevitable,

attention

of

study

made

Winckelmann's

of

1764,

the

turned

ment
develop-

ancient

of

by

Sculpture

of

beginning

the

in

sculpture.

Roman

ideals

had

toward

ever

and

since

far

so

be

must

works

and

Angelo.

further

study

The

publication,

Art

and

quieter,

discontinued

XIV

impossible.

collecting

of

practice

been

never

and

architecture.

upon

and

almost

was

simpler

become

must

of

direction

same

that

Bernini

the

isms
manner-

Louis

carried

were

of

of

Michael

of

mannerisms

imitators

that
and

of

styles

works

the

in

and

and

successors

the

Rococo,

found

be

Louis

in

and

from

exaggerations

the

and

seventeenth

naturally

of

germs

the

of

sculpture

developed

centuries

Renaissance,

the

The
"

eighteenth

SWEDEN

AND

Inevitable.

Change

DENMARK,

ITALY,

go

influence
the

sculptor,

to

in

tions
tradi-

for

he

MODERN

executed

59

besides

be

far

of

hk

all,

choice

of

his

and

ancient

represent

his

even

represented

the

and

pina,

of

the

the

Psyche
be

Clement
he

the
to

aiid

is,

Theseus

Venus,
and

Cupid
which

may

of

Popes

XIV.

the

on

peror.
em-

the

tombs

XIII

in

widely

the

176),

the

Agrip-

most

are

(Fig.

Roman

and

added

reliefs

of

Minotaur,

Perseus,

he

himself

his

works

and

his-

as

Napoleon

Among
known

for

Napoleon's

attitude

costume

was,

was

show

antiquity

senator,
in

mother

classicism

to

the

heroes,

or

Washington

Roman

thing
some-

of

monuments,

gods

for

retiim

is

statues,

portraits

admiration

Theseus

clear

ideal,

and

groups

portraits

except

he
it

his

was

in

His

makes

art

There

the

ductions
proseen

are

graceful.
as

Canova's

when

subjects,

all

them,

external.

choose,

to

nearly

the

that

only

classic

and

some

showing

after

that

in

and

the

works

his

busts,

54

with

compared

predecessors,

of

and

monuments,

When

natural,

simple,

more

Vatican,

22

groups,

reliefs.

347

ITAI.V

IN

immediate

theatrical

free

14

statues,

number
of

to

SCUUTURK

In

his
less

whole,

and

Cupid

3,
"

successful

than

in

his

Psyche,

statues.

is

most

and

groups

and

grace

be

expressed.

of

reality.

and

he

and

traditions

works
what

was

successful
like

statues,

Even

in

Canova

living
of

be

than

us

art

to-day
Even

at
were

as

he,

power,
to

seems

time
still

when

undoubtedly

lack

antiquity
the

habits

That

strong.

somewhat

to

are

be

imitating
a

which

in

Psyche,
and

vigor
there

working

expected.

and

consciously

baroque

impress

Cupid

these

was

and

those
the

rather

charm,

should

might

in

The

Canova.

Paris.

Louvra.

He

by

artificial

the

his
is

only

greatest

348

HISTORY

his

of

sculptor

that

of

The

Ne(M;la89ic

the

for

in

his

and

Rome

school

comprise
the

relief

are

and

His

it

little

Greek,

of

style

enjoyed

similiano

the

little

no

in

fame

They^komardic
the

by

of

coldness

the

the

of

part
is

important

he

new

of

marked

Among

naturalism.

revolt

neo-classic

the

His
but

to

the

from

school,
them

and
where

Paris,

academic,

somewhat

of

and

Charity

his

pure,

he

in

the

to

Pitti

and
visible

are

though

he

is

Much

for

more

distinguished
the

At
imbued

became

serene,

academic

sentiment

Canova.

of

age

with
to

seem,

and

lowed
fol-

was

tendency

now

in

toga.

the

of

with

Luke

school

in

contemporaries

return

in

teacher.

works

One
Mas-

St.

(1777-1850),
as

imitate

to

of

(1767-1837),

Bartolini

sculptor
to

this

imitator

Lorenzo

went

spirit

Ricci

submissive

practical

as

twenty
'

Stefano

of

Their

sculpture

enlivened
infusion

the

by

Italy,

Francesco

clad

which

The

sculpture.

neo-classic

indications

Some

most

alike

classicists

the

works

"

sopra

in

was

was

Lat-

names.

Academy

The

school,

romantic

naturalism.
in

School^

frigid.

taught

Napoleon

of

Rom^-tmd-^mdea^^ta^ue

the

and

desire

day

the

at

of

are

Maria

their

who

(1767-1831),

Cupid,

numerous

one

his

Among

Sta.

Greco-Roman,

Thorvaldsen

and

their

as

rather

were

record

to

variety,
or

academic,

school

and

noted

most

in

Lante

of

numerous

Torlonia

Capella

in

first

Venus,

the

best

classical

subjects.

Box,

Duchess

the

pupil

are

knowledged
ac-

be

throughout

of

are

chiefly

time

works

latter

the

while

Laboureur

Canova

the

soon

it will

worked

Christian

correct,

worth

him

sculptor

Pandora's

neo-classic

hardly

exhibit

Italian

and

in

is

Of

for

His

the

style

sculpture

(1798-1869),

among

of

the

of

is

^works

who

tomb

the

sculptors

the

Faun,

Deposition,

Minerva.

but

Psyche

the

from

pupils

of

and

supreme

Thorvaldsen.

with

lived

Tenerani

mythological

and

of

eran,

of

he

chief

both

former

Flora,

the

Pietro
then

Caiiova,

chief.

was

Canova

was

entirely

Canova's

"

school

its

though

influence

After

Italy.

Italy.

classical
as

elsewhere,

speak

himself

free

time.

Thorvaldsen
to

SCULPTURE

not

School

few,

relatively

could

time,

influences

OF

be

the
sure,

Italy

they

cold

style

of

the

study

of

nature.

palace,

the

MacchiaveUi

the

SCULPTURE

MODERN

in

the

entrance

Santo

Campo
Poldo

the

to

Pezzoli

equal

but
of

statues

Pisa,

di

spontaneity,

Italian
Pietro

Magni

Antonio
and

Solari

Tommaso

Realistic

of

nineteenth

of

centre

science,

gallery
nino
of

at

piece

was

are

portrait
the
and

originality.

many

statues,

Dying

Ettore

Resignation.

artist,

delicacy

and

Napoleon,

whose
of

works
the

Early

the

in

possess
Renaissance

in

the

and

excellent
shows

His

and

monuments

is
the

at

and

Spartacus
such

1855)

are

characters

Dupr".

the

of

Pitti
Anto-

(1822-1891)

creations,
(b.

the

Turin,

than

something

went

His

an

Vela

as

to
was

Sant'

at

public

such

passed

who

is

Cavour,

including

chief

school

and

Siena

realistic

Ximenes

it

Abei,

of

duced
pro-

naturalism.

Giotto

Vincenzo

ideal

the

Bartolini

of

the

Bartolini

was

admirably

figures,
more

that

realistic
of

Pietfi

and

and

Thence

turn.

to

various,

dramatic

Paris

of

monument

modern

and

express

and

and

Paris

Death

his

from

of

statues

I'fRzi

his

more

even

the

in

development

direction

the

classicists.

individualism

follower

and

work,

individuality

works

of

its

the

was

His

represented

persons
of

in

in

work

porch

was

ment
senti-

mingled
the

of

and

sculptor

master

Florence.

in the

the

school

Italian

important

are

(1818-1875).

school

Italy,

1817-1882),

ttiaiihis

other

(d. 1894),

traditions

further

It
to

realistic

Ital^:*" -TheHk^

first

still

to

school.

";CiayanniDuEr^(
further

the

romanticism

the

works

the

Strazza

democracy,

led

realistic

brought

at

romanticists

as

romantic

"

with

century
the

had

The

School.

progress

de

(1820-1889).

naturalism

and
The

nardo
Leo-

His

FrancescoSomaini

(1829-1879),

the

Leopoldo

Among

Giovanni

of

as

and

Fietro

classed

the

Virginia

Pistoja.

at

the

acteristic.
char-

such

singer

taste.

be

may

(1817-1877),

Tantardini

The

Papi
and

in

sculptor

works,

of

statue

Lazzaro

who

as

the

the

as

Brunelleschi,
to

in

considered

was

Filippo

sentiment,

sculptors

mentioned

larger

many

colossal

of

Astyanax

distinguished

monument

the

tomb

the

be

may

was

the

and

Pyrrhus

Cambio,

and

Inconsolable

(1791-1847)

produced

Florence,

at

and

show

also

Vinci,

Blasiis,

Milan

He

Arnolfo

da

in

Pampaloni

Bartolini.

children,

the

349

ITALY

the

gallery,

and

Museum

Luigi
of

Uffizi

Pisa,

at

IN

as

Prayer

productive

nobility
the

same

and
time

350

HISTORY

realistic.

earlier

The

life

single figures

monumental

compositions,

acchio

him

is

works

Italian

excellent

with

exclusively,

with

There

elaboration

detracts

from

the

the

in

Danish

century
the

Frenchman,
of

welt,

was

been

Fine

in

was

Thorvaldsen
Rome.

works

Hope,

of

ordered

Zoega,

and

rather

Canova

of

statue

in marble.

carved

others

of
than

His
Canova's
power.

united

in

works

for

example,
Among

He

were

them

are

went

he

and

the
more

important

banker,

Mr.

flocked

owing

called

Cupid

of

archaeologist
pupils

perhaps
as

was

beginning

the

him,

such

Dajou

studied

first

the

of

Academy,

became

English

had

influence
the

His

time,

some

he

1797,"

and

the

Wiede-

Thorvaldsen

was

art

of

Nicholas

pupil

an

admiring

teenth
seven-

the

Paris

the

Canova,

success.

the

director

March,

This

valdsen
Thor-

upon

in

himself.
which

Jason,

extraordinary

studio.

influence

than

of

exist.'*

not

portance
im-

Bertel

at

Canova,

of

sudden

Johannes

1797
of

8th

I did

and

art,

In

the

then

first

his

teacher.
on

"before

ancient

was

career

his

born

was

classicist

of

to

say

complete
work

the

Professor

Pajou

which

predominant.

under

under
first

's
"

to

Paris

at

became

came

Weidenhaupt,

studied

art

Coustou

he

tendency

works.

part

successor,

younger

where

Rome,

had

wont

his

and

the

of

was

and
also

accessories,

dependent

French

part,
life

through

been

Saly,

Arts,

pupil

Winckelmann.

to

then

Jacques

Academy

also

art

but

Netherlands,

had

do

sometimes

their

latter

the

them

daily

attained

sculpture

Until

(1770-1844).

of

of

history

of

list

most

however,

Denmark

"

the

and

dignity

The

of

from

details

ment
monu-

important

most

charm,

is,

of

Thorvaldsen,

Denmark,

and

grace

power.

excessive

sometimes

little

no

impressive

toward

taken

in

prolific.

great

many

for

are

Justice

Ayres.

and

long,

subjects

means

no

treated

are

Their

work.

by

is

sculptors

Buenos

to

Ciceni-

been

the

of his

One
at

chiefly

of

also

of

sculptures

Garibaldi

to

has

part

to

Palace

(b. 1852)

the

most

monument

the

for

in Rome.

Emanuel

monument

modern

though

of

the

as

the

himself

devoted

Quadriga

many

Victor

such

for

are

has

he

Maccagnani

due

are

to

of

the

Eugenio

Rome.
To

and

(1908)

them

among

later

in

SCULPTURE

OF

and

to

for

the

grace,

Psyche,

THORVALDSEN

Venus
a

(PIr.

Quirinal,

to

relief

This
the

The

belong

fame

and

next

years

the

to

Victorious

(1814),
and

Vulcan,

Mercury

of

from

statues

of

wig

Denmark

on

his

of

Lucerne

the
"Lion

famous

in

again

in

his

Rome

to

in

Copenhagen
between

In

with

commissions.

The

Copenhagen

at

of

part

and

Angels
the

Heaven,
the
best

be

which

seen

contains

His

over

chau.

fifth
grace,

not

and

reproduce
fourth

dignity,

he
and

executed
the

most

for

stance,
inFlGCHE

Twelve

the

are

very

beauty

and

and

spirit

and

before
of

form

Christ.
;

but

of

can

Copenhagen,

works.

Jeri-

Fogelberg,
ancient

imitated

John

and
at

SergeU,

vigor

St.

numerous

original

Bissen,

of

Preaching

Museum

models

studied
the

in
and

Thorvaidsen
iiOO

177.

tles,
Apos-

Baptism,

centuries
and

at

Journeys

Influence.

Thorvaidsen

"

could

his

productions

the

Thorvaldaen's

place

Christmas

of

in

fore
be-

nature,

keeping

Baptist.

other
An-

honors

the

Angel

was

1838.

for

are

Christ

turned
re-

but

works

religious

the

He

Copenhagen

and

overwhelmed

was

people

took

1844.

Rome

and

intervened

which

death,

of

Workshop

went

for

1820,

Copenhagen

visit

the

Lucerne."
in

lx"ve

(1814),

the

to

works

Lud-

commission

Rome

to

artist

well-known

(1814),

time,

from

of

the

began

he

1819
short

received

Napoleon.

of

Deianeira

the

Greek

Prince

for

visit

in

(1816),
he

ancient

In
for

hall

raised

modelled

Morning

1816

Aegina

way

Cupid

and

the

Bavaria.

to

Boy

for

Many
and

Ganj-mede

(1819).

the
and

Xessus

In

restoration

for

palace

he

1812

Alexander,

popularity.

and

In

admired

Night

Hebe

(1815),

the

the

immensely

of

height

of

351

SUCCESSORS

Adonis.

Triumph

prepare
was

HIS

and

Hebe,

177),

relief,

great

AND

Greek
His

they

art

works
lack

but

art,

life.

of

the

have
His

352

HISTORY

influence

great,

was

and

continued

OF

predominant,

even

in

SCULPTURE

Denmark

however,

rather

preferred

than

Greek

and

really

methods

and

international

J.

Norway.
who

the

T.

has

Swede

been

Fogelberg

much

admired.

century.

style

of

turned

in

to

even

Sweden

to

himself,
of

statues

in

the

end

and

cist,
classi-

Sweden,

Thorvaldsen

Jerichau,

Thorvaldsen

in

sculptors

was

produced
A.

No

arisen

hfive

with

compared

J.

Norse

later

portraiture.

(1736-1813),

are

the

to

reputation
Sergell

from

years

more

of

(1798-1868),

subjects

his

in

Europe

Bissen

W.

his

choose

to

mythology

naturalistic

H.

by

was

who,

throughout

Norse

gods
continued

Norway,
of

the

nineteenth

and

which

354

her

the

is

best

de

Arc

known

His

public

the

Fontaine

by

are

popular

many,

the

Molifere,

of

high

poses
a

Pierre

"Apotheosis

in

was

monuments

his

Jean

striking

theatrical

(1792-1852)

SCULPTURE

realistic.

are

Triomphe,

and

conception
Pradier

OF

children,

dead

two

(1787-1843)
on

HISTORY

of

figures
of

gestures.

and

prolific
them

the

in

Arc

de

of

figures

sculptor.

the

Muses

the

spandrels

twelve

the

tomb

the

Paris.

such

works

with

dignity

In

his

works

of

grace.

monumental
nude

female

the

as

Louvre

the

or

spite

his

of
is

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the

native

and

them

with

The

costume

idea

of

of

expression,

shout
of

goddess

to

the

men

of

the

war

dramatic

of

forth

go

in

is,
is

to

of

vigor

of

Many

the

museum

composition
the

Arc

on

winged

least,

action,

urges

ages

their

for

Roman,
but
and

de

goddess
and

various

origin,

classic

in

relief

battle

at

part

dramatic,

famous

men

group

and

national.

Here

of

above

away

traditions

are

high

Depart."

"Le

called

in

acter
char-

Rude

sculpture

most

figures

sensuality,

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easts,

or

His

Dijon.
group

floats

war

originals

of

great

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of

either

works,

is

Francis

classic

vital,
his

there

classic

(1784-1885)

of

Graces

art.

"

made

Three

the

Rude.

from

the

haps
per-

of

of

in

of

trace

in

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Atalanta

Versailles,

at

less

character,

chiefly
such

of

Invalides,

In

combines

In,

(\c

the

in

in

bourg
Stras-

Pkcp

about

Napoleon

the

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and

figures

of

Triomphe,

the

Concorde,

in
James

Lille^

in

he

classical

and

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all

Napoleon"

relief,

among

Cortot

country.
and

the

the

intensity

the

powerful

SCULPTURE

in

contained

feeling

with

common

other

the

Fixin,

of

cemetery

Beaune,

the

d'Arc,"

now

shows

in

less

the

As

French

expression

boy.

sculptor

made

emotion

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freed

he

for

and

numerous

of

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statue

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exhibited
at

in

in

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his

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statue

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and

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and

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the

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In

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pediment

bunches

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in

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luide

male

to

and
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in
form

The

in

but
a

statue

in

rather

of

his
of

France,

and

History,

are

of
effect

have

who

composition

figures

all

executed.

Pantheon,

Liberty

The

sured
as-

from

development

Frenchmen

central

theme,

the

the

the

peace.

good.

in

of

act

number

of

figures

though
are

of

is

Freiburg,

hurriedly
great

which

young

the

sought

were

the

factor

wreaths

portraits

Louvre,
of

works

and

of

walls

the

of
in

are

and

1827

figure

were

style

seated

successful,

His

most

France.
of

in

and

the

over

important

between

out

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marble

wore

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the

actually

of

model

plaster
in

is thus

cities

realistic

is called

His, works

many

the

reputation.

and

France,

in

seen

statue,

and

David.

finished

he

general's

make

entirely

study

impor-

(1789-1856)

painter

be

was

This

distinguished

the

he*

vehicle

Angers

at

Conde,

1817,

vigorous,

standing

in

Great

sculptor's

sculpture.

some

Less

important

David

born

to

costume

his

the

been

the

the

throwing

holds

the

Jean

the

are

Versailles.

Cond6

works

the

these

original

the

at

"Jeanne

of

and

power

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of

was

from

easily distinguished

But

works,
is less

sculpture

one

Pierre

"

d'Angers,

parts

is

Rude

all

attractive

Rude

the

century.

David

now

is the

in

the

sculpture.

great

who

d' Angers.

David

very

of

In

at

covered

Monge,

and

Paris,

latest

his

Dijon,

at

school,

nineteenth

In

nearly

Gaspard

178).

dramatic

sculptors
of

neo-classic

of

museum

successful.

(Fig.

characteristic,

fisher
the

Louvre

master

Neapolitan
Cupid,

the

in

Ney,

Rude's

Cavaignac,

of

in

Napoleon

figure
Godefroi

statue

Marshal

Of
the

are

of

tomb

nothing

Thorvaldsen.

or

the

of

have

composition

characteristic

the

355

BELGIUM

AND

half-recumbent

statue

because

in

Canova

Montmartre,

himself

tant,

of

cloak,

military

whole

most

Dijon,

near

the

art

the

works

with

FRANCE

IN

is not

dignified

and

Philopoemen,
is

contorted

vigorous
posture.

356

HISTORY

of

One
The

his

works,

but

excellence,

Napoleon,

he

of

Louis

in

was

that

exclusively

universally

popular

sculpture.

His

Lion

sculptor

Barye

(1796-1875)

large

and

C'ombat

with

with

Rude

from

the

works,

the

the

Seated

all

Lapith,

of

David
of

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of

and

Centaur

in

Tuileries,

are

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action.

who

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and

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one

classicism.'

conventional

pupils

Two

devouring

Lion,

d'Angers

of

museums

Tiger

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realism

vigorous

and

FremkL

in

bronzes
are

In

be

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was

small

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to

are

Serpent,

masterpieces

animals.

and

of

portraits.

"

of

vary

instance,

for

them,

Philadelphia.

celebrated,

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and

Antoine

is

Jefferson;

which

best

strong

are

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the

for

the

SCULPTURE

of

statue

medals,

numerous

in

OF

of

and

Fr"miet

Rude,

Carpeaux,

"

the

are

among

the

Of

century.

was

of

middle

the

entrance

Cub

because

they

Paris.

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the

tory,
of

"

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St.

few

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George

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'

Jean

anil

or

(1S{).5-1S67).
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dceoration

Jean
iBUnii^

school;
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{l"TJ-HXM),

and

plaj'ing
known,
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of

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visit

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equestrian

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are

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power,

truth

to

Lemairu

Sylvestre

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pupils

Perraud

Dure!
of

whom

Uiiiltuunie

Jean
U

all

Baptiste
the

moat

Aotoine

are

Gabrid

(1796-1845).

Chuiei

Georges
of

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Francis

and

BemnTd

Laiti^,

(1804-1865).

Pradier:
and

(18IS-1876),
of

Brun,

Rude,

vital

Ban's

Gechler

Trioinphc^

Joarph
three

and

(1700-1808).

de

of

sculpture

(I7QS-1SH0).

Theodore

more

work

on

making

FrantqiR

Arr

(1827-1875)
the

d'Aiigpr.

Henri

CaUlouette

tlie

Franpisque

(1801-1884),
dswir

Denis
of

in

David

Rude.

Jean

(1795-1SC7),

the

vigor,

the

at

Faun
well

of

statue

Carpeaux

Barye

Philippe

(1794-1874),

"

foreigners

the

carrie"l

sculptor

one

(IS08-18MS).

Maroehetti

the

the

tant
impor-

more

dog

fountain

Dragon,"

Baptiste

"

Contomporariex

aeurre

the

which

in

after

combined.

d'Angers,

El"x

all

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works,

other

any

David

are

of

"

the

especially

almost

the

the

admirably

Carj^etivx.

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seen

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gallery

Marine

and

and

gallery

the

in

are

"

Dugucsciin,

only

of

Luxembourg

Bears

though

woundeil

The

though

(1824-1900)

played

figures

compositions.

the

to

with

his

nineteenth

important,

more

animals,

of

human

the

Fremiet

sculptor

as

century

in

part

is the
Emmanuel

younger.

distinguished

of

sculptors

Carpeaux

two

the

somewhat

distinguished

most

Jacquot

whom

did

Alexandre
who

Jouffroy
Claude
iniport"nt.

p"U

Dumont

belonged

to

the

(1806-18S2).
Kug^ne

Guil-

SCULPTURE

modern.

IX

His
is

Boy"

first

of

torment

idea

of

Ugolino

refused

him

execution

consists

group

all

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makes

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de

Flore

the

Opera-house

produced

brilliant
and

relief,

in

holding

which

before

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influence,
other

he

countries,

Paul

nude

full

is

'Carpeaux

but

France,

deser\'edly

Paxil

but

age,

also

great.

Dubois

(1829-

Florentine

Dubois,

1905)

was

of

sculptor

by

of

of

in

Siiisrr.

women,

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was

Dubois.

four

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power.

only

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the

globe)

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and

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the

up

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the

and

Paris

represented

continents,

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group

of

examples

the

work,

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group

of

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the

Home

at

played
dis-

decoration

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Fountain

in

the

Academy
a

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tures.
pos-

the

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Pavilion

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son

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statuar"'

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knowledge

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the

less

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1861.

except

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group

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1858

such

ami

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Ugolino

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undertake

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In

Dante

by

director

permission
was

in

described

The

"Neapolitan

gracefuL

representing

as

XXXIII.

canto

and

357

BELGIUM

the

work,

lifelike,

the

AND

important

humorous,

ranceived

FRANCE

The

bourg,
Luxem-

refinement.

great

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The

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the

characteristic

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are

of

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the

Jeanne

widely

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lienaissanee,
"Florentine

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Early

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his

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centurj,

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of

the

by

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exquisite.

fifteenth

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of

Nantes,

at

Paris)

the

realism

179)

is

statues

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Italians

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his

evidently

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with

of

of

at

General

Rheims

known

of

Singer"
Lamori-

works
his

in

(replica

style,

and
^

are

358

Falguiere.

Chapu,
is

(1831-1890)

Luxembourg,

in

works
in

his

ability

with

rapidity

led
of

to

successful

as

in

shows

Falguiere
of
such

Antoine

ground

with

the

of
the

dignified
medals
Dahu.

atier
his

de

la

noted

most

successful

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part

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Beaux
and

ous
numer-

sculptor
busts

portrait

refined

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and

of

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at

who

at

and
was

activity

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finely

popular

sculpture,
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of

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in

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Antoine
Bonas-

Jean
Le

Puy;

Pierre

Carrier-Beileuse
works

is

Orleans;

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Virgin

simple,

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figure

d'Angers

character;

ability,
merit;

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d'Arc

for

of

Republic"

180).

colossal

religious

artist

the

David

known
the

charming

factory.

of

Jeanne

dignified,

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of

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on

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with

equestrian

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works
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(Fig.

connection
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(1814-1894),

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in

Millet

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(1809-1879),

(1810-1892),

form.

known

which

Chapu

Triumph
Paris

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work

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(1838-1902)

"The

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Pr^ault

Auguste

is best

des

an

as

female

Ecole

Palais

figures.

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group

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most

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striking

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exhibit

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to

in

tion
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latest

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young

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(1833-1891)

expression

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com-

striking,

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Michel

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acter
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of

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character,

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his

works

whole.

executed

carelessness

later

Error,

essential

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pain,

exceptional

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of

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seize

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in

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Martyr,"

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nude

Joseph

Alexandre

Jean

"

probably

Fight,"

Cock

the

SCULPTURE

OF

HISTORY

he

Jules
executed
in

his

day,

(1824-1887),
such

designing

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was

Caveller

the
models

Aim6
but
the
Hebe
for

SCULPTURE

IN

stands

Republic
hidden
drawn

by

torch

rests

The

attitudes

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of

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of

some

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the

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(1841-1905)

"

order

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the

by

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strong

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Labor,

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is

composition.

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of

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Mirabeau

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ISO.

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last

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as

the

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that

structure

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nude

other

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In

lions

on

whole

almost

Fecundity,

Cupids.

figure

An

the

the

359

BELGIUM

AND

supported

volutes

lions.

upon

and

Justice,

and

two

ball

upon

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by

FRANCE

and

power

of

genius.

conspicuous

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originality,
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of

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perhaps

public

many

is

the

monument

was

of

not

an

the

monuments,
to

Victor

artist

highest
the

Hugo

360

HISTORY

the

in

seated
and

Victor

Place

of

figure

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SCULPTURE

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362

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PRANCE

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and

La

him*

monument

sculptors

among

(1847-1898)

hb

and

Belgian

by
besides

Waterloo

at

recent

themselves

theifi,

showed

painter,

power

who

Several

as

367

BELGIUM

dramatic

great

Brussels;

excellent.

AND

perhaps,

officers

Horses"

FRANCE

known,

sculptor

the

IN

XXIV

CHAPTER

MODERN

SCULPTURE

GERMANY,

IN

AND

SPAIN,

RUSSIA

Revival.

Classical

The

Dannecker.

In

had

style

rococo

had

sculpture
character

the

influence

head

Pajou

the

as

Swiss

the
works

most

was

P.

them

Schools

confined

of

Soon,

differences

tended

the

toward
and
two

works

of

Panther,

by

the

neo-

The
at

best

Frankfort.

at

Stuttgart

in
of

of

with

the

but

ture
sculp-

more

school
that

the
school

Dresden

others.
368

Thorvaldsen.

and
or

less

marked

clearly
and

Munich.

historical

chiefly
Munich

by
during

places

Dresden,
was

of

produced

was

different

Canova

Berlin,

at

Berlin

Classic

Munich.

Stuttgart,

schools

realism,
that

garded
re-

also

"

ascendency

three

of

and

to

developed

work

was

Dannecker's

associates

sculptors

the

however,

under

Canova

lifeless.

Dannecker's

Dresden,

second-rate

period

all

on

was

influenced

somewhat

Ariadne

and

(1756-1808).

Berlin,

not

numerous

the

of

Scheffauer

of

was

The

is the

scholars.

studied

He

Trippel.

nearly

countries,

important
J.

like

the

(1758-1841)

was

Alexander

but,

all

he

the

instruction

where

Here

master.

of

other

for

Rome

to

sculptor

in

among

The

went

graceful,

and

Stuttgart.

at

latter

under

place

Dannecker

school

then

great

school

known

classic

the

beginning

took

Rome

to

teenth
eigh-

national

In

the

art

Heinrich

classical
are

classic

the

the

Paris,

at

classic

looked

Johann
of

and

the

decorative

had

that

Lessing,

sculptors

inspiration.

little

rich

significance.

Winckelmann,

of

German

the

of

much

but

century

revival

in

power

sway

sculptural

eighteenth
a

its

produced,

genuine

nineteenth

The

been

or

of

part

under

and

century,

absolute

with

reigned

the

Germany

"

school

intermediate

and
was

between

mantic,
ro-

370

HISTORY

rather

ideal

Insipid

(1776-1851)
Theatre

in

Berlin

Ranch.

and

figures,
the

whom

to

SCULPTURE

OF

Christian

Friedrich
reliefs

mythological

finest

Christian

Daniel

successor

Ranch

which

is

His

horst

in

dignified

is

well
Others

the

Friedrich

also
famous

work

Dragon,

in

fine

and

the

"

to

the

The

of

Dresden

Friedrich
who
school.
freed
classic

in

studied
His
himself
school

early
from
and

Ernst

School.

also

the

Berlin

King

August

royal

Amazon

Rome,

at

work
the

his

at

(1804-1861),
the

was

influence
a

more

His

Amazon
and

the

is

Berlin,

also

(1814-1892)
which
at

works

stands

the

entrance

is the

Schilling.
a

trian
eques-

head

of

Ranch

and

realistic

the
he
of
and

Ernst

"

of

pupil

lifeless, but
of

metal.

Hanover.

Hdhnel,

is somewhat

developed

Kiss

of

art

(1804-

Greorge

Lion,"

of

August

in

Wolff

by

another

Rietschel,

Rietschel

by

the

Kiss

in

palace

Albert

though

mounted

at

Schievel-

by

St.

of

attacked
to

of

group

master.

Ranch,

only

group

the

his

August

composition.

piece

Museum
statue

His

Horseman

companion

spirited

of

courtyard

spirited

modelled
as

is the

Schinkel

Ranch

worked

Ranch,

panther.

of

Cologne

at

of

of

was

probably

Hermann

than

though
Al-

is

footsteps

Thorvaldsen.

and

work

followers

close

as

pupil

and

Friedrich

influenced

more

pupil

with

best

Ranch

the

and

also

Canova,

fighting

and

sentimental.

William
of

in

closely

were

was

antiquity,

those

are

at

womanhood.

of

chief

Emperor

(1813-1874)

Schievelbein

most

of

powerful

portrait

Ranch's
whose

of

Louise

somewhat

School.

and

Queen

type

it is, however,

him

(1817-1867)

1865),

true

followed

Blaser

bein

as

German

Scharn-

his

of

of

admired

carefully

and

examples

good

Berlin,

Nuremberg,

at

monument

greatly

statue

by

He

Gustav

Billow

His

in

and

dignity,

Generals

(1805-1882),

statues

Berlin.

and

was

Great

"

equestrian

other

His

Berlin

Drake

Royal

school.

Berlin
the

Diirer
are

modelled,

of

life

Albrecht

the

of

the

Frederick

of

style.

presentation

of

Munich

Charlottenburg

the

full

of

at

the

(1777-1857)

of

to

monuments

Berlin,

Maximilian
and

monument

impressive,

modelled.

head

the

as

is the

work

in

due.

are

"

Schadow's

Tieck

Ranch,
Dresden

gradually
the

neo-

vigorous

MODERN

His

style.

His

dignified.
well

also

Pieti

at

religious

the

monument

the

author

Potsdam,

in

who

trained

considerable
Dresden.

romantic

of

his

Italy

(1828-1910)

of

in

espedally

them

in

was

reliefs.

Most

classic

others.

The

as

to

of

{b.

of

1811),

his

Beethoven,

the

like
in

his

of

Hahnel,
earlier

show

Bonn,

at

Munich.
the

works,

the

Johannes
influence
such

works
the

pedestal
influence

Schilling
of

his

the
as

of

hut

style,

reliefs

the

sculptor

in

the

express

best

Hahnel

Munich,

are

such

the

was

pears
ap-

Rietschel

ability

Ernst
in

spirit

kinds,

he

and
refined

on

school

shows,

and

especially

to

romantic

whole

is

Worms.

exhibits

ment
monu-

strong

romantic

other

day.

his

appears

monument

he
the

Some

spirit

the

training,

in

ability,

in

which

of

the

at

of

is

Brunswick

Luther

works

On

sculptors

of

of

the

probably
which

at

of

to

sentiment.

wa"

Leasing

Something

German

ere

of

statue

is

Weimar,

at

371

GERMANY

work

Schiller

executed.

in

was

and

IN

known

widely

most

Goethe

to

and

SCULPTURE

groups

classic
of

372

HISTORY

and

Night

Morning

Germania

pedestal

(Fig.

Detmold

is
Bandel

von

The

School.

was

school.

Later
in

style,
He

much

of

group

the

appealed
time.

by

Konrad

and

treated

art

Arminius

Teutobiu'g

Forest
work

near

Ernst

by

of

by
of

King

front

in

is

the

to

The

had

way

Eberhard

turned

number

of

than

of
of

in

the

pediments

of

influence,
He

Germany

Rome

at

neo-classic

imitation

of

of

Munich

at

studied

the

the

and

him

had

who

in

Munich,

the

for

prepared

cuted
exe-

powerful.

or

of

art.

Bavaria,

great

refined

sculpture

ancient

the

exerted

works

romantic

in

of

one

in

neo-classic

Ruhmeshalle,

feeling

been

religious

to

He

(1768-1859),

in

the
in

national

rising

the

statues

especially

not

of

Ludwig

of

studied

subjects

and

reliefs

century

who

mediaeval

Ratisbon.

work

nineteenth

the

member

national
of

Munich

At
"

docile

rather

near

executed

but

Grerman

Eberhard,

part

"Hermannschlacht"

the

his

his

he

time

Bavaria

Walhalla

though

number

bronze

colossal

its

combination

to

(1802-1848),

employed

large

of

classicism^

peculiar

impressive

early

for

imitation

was

the

Schwanthaler

and

Rome

from

monument

Schwanthaler,

of

sculptor

Ludwig

was

reliefs

pervaded

the

more

colossal

(1800-1876).

Munich

chief

the

in

and

simpler

the

are

The

")

and

free

which

1870-1871.

Hermanndenkmal

"

(the

of

war

His

figures

entirely

not

ostentation

and

the

after

the

striking qualities

sentiment

of

Dresden.

in

terrace

with

is

185),

its most

though

the

on

Rudesheim,

at

SCULPTURE

OF

stvle,

mediaeval

works.
Revolt
first

half

into

the

the

Classicism,

from
of

the

nineteenth

second

for

school

authority
The

of

Reinhold
and
of

Michael

he

excels

if

of

Begas
drew

his

Angelo.
in

the

(b.

relative

1831),

inspiration
His

from

figures

rendering

broke

of

are

full

textures,

of

the

and
of

but

made

the

from

his

the

followers.

from

life and

was

Berlin

by

was

away

nature

well

sculpture

their

work

the

until

influenced
and

independent
who

of

realism

unconsciously,

more

indeed

style

Thorvaldsen,

Canova,

beginning

the

even

strongly,

was

prevailing

Throughout

"

and

century,

the

half,

pseudo-classic,

Uphues.

Begas.

by
cism
classiworks

animation,
work

is,

for

MODERN

the

most

that

SCULPTURE

less

part,

of

Bernini's

the

his

all

visible
some

in

the

is

his

the

or,

of

them

or

toudi

the

draperj-

Iloetgcr

Strassburg,
equestrian

is almost

and

the

and

the
to

failures,
earnest,

parallel

theorize
bizarre

or,

of

results.

But

sculpture

thoughtful,

distinctively

as

that

emplojTnent

German

has

national

to

the
have
various
in
of

made

spite

of

recent

which

German
the

to

lends

always

not

occasional

and

errors

is

duction
pro-

works,

polychromy

have

often

to

Bremen

at

academic

years

and

500

cathedral

The

with

materials

progressive,
sentiment

may

been

Hahn

Tuaillon

instances

be,

is

about

the

by

sculpture.

case

realism

of

Frederick

some

who

one

when

of

given

they

as

to

as

sculptures

in

primarily

with

figure

recent

led

be

Mingled

Empen"r

ture,
sculp-

is

things

present

costume

in

German

pedantry,

the

increase

conscientiously

new

seem

the

ing
awaken-

great

and

Athenian

of

the

of

Munich

England,

countries,

to

they

an

Roman

experiments

good

of

other

learned

style

statue

to

of

in

closely.

The

without

tendency

art.

as

the

the

The

remarkable

The

striving

of

works

in

in

saw

seriously

too

his

Frederick

time

as

who

sculpture

not

of

Washington).

centurj-

their

instances,

some

the

Germany,

and

naturalistic,

studied

whose

this

at

sculpture

sculptors

new

and

sometimes

B.C.,

In
"

of

be

those

1831).

nineteenth
in

prf"gress

the

in

the

interest

the

examines

imitates

(b.

of

number
for

realistic

led

was

in

may

and

of

tion
ostenta-

distinguished

in

(replica

Some
to

among

represented

Sculpture.

like

the

Siegesallee

decades

which

most

Berlin

in

Schiller

evident

more

(1850-1910),

monument

public

work

The

tain,
foun-

the

best.

the

of

some

motifg.

tendency

is still

Berlin.

Zumbusch

New

works

Uphues

the

Caspar

of

at

in

tendency

closing

his

troduces
in-

Neptune

I, and

The

to

and

effect,

the

perhaps

are

pupils,

many

Joseph

in

The

are,

of

many

Moltke

the

realistic

in

are

for

decorative

William

admirable.

than

Angelo

works,

Emperor

Berlin,

Siegesallee

Great

by

in

of

pupils
are

in

busts

portrait

of

of

Monument

Michael
strains

larfie

373

GERMANY

various

too

numen"us

very

monument,

He

and

many

of

that

to

successors.

too

his

Among

akin

IN

vigorous
inspired
it

and

by

peculiar

374

diann.

The

dearly

the

be

can

leaders

them

Reinhard

German

(b.

is

of

sculptors

fountain

yeare

several

Munich,

at

the

equestrian

other

public

work

monuments,

the

best

ideal
is

and

figures.

executed.

Diez

(b.

produced

of

works,

chiefly

his

in

Dresden.

Klinger

who

is

(b.

also
a

of

famous
in

Tuaillon

chiefly

(b.

and

Wrba

(b.

public

1862),

of

sculptors

modelled

Lederer

is

Leipzig.

as

of

works
Ernst

have

artist

his

also

1872),

1871)

monuments,

August
animals,

also

fine
is

of

{Fig.

for

his
is

are

cate
advo-

The

186).

works.

massive
the

Bismarck

Louis
known
Tuaillon

sculptor,

other

and

1861),

and

animal

which

is

ture.
sculp-

1869)

Geyger

figures

remarkable

chief

(b,
{b.

though

distinguished

he
;

ment
monu-

Gaul

fountains

sculptor

Beethoven

Geyger

human

painter

successfid.

the

probably

noted

polychrome

very

are

Moritz

many

numerous

(b.

statues

1857),

however,

most

of
colored

power

known,

the

as

little

chiefly

hb

is

etcher,
no

long

acti\'ity
in

Max

portance
im-

his

successful
teacher

of

public

but
lies

and

1844)
number

monuments,

and

the

conceived

carefully

has

in

of

well

Robert

liefs,
re-

realistic

sense

is

word,

Some

of

portraits,

His

of

the
statue

and

as

works,

many

fountain

numerous

most

most

recent

produced

Strassburg,

at

Bremen,

at

has

1847)

Wittelsbach

the

Bismarck

influence

here.

Hildebrand

among

whose

Meunier.

among

metioned

Adolf

and

Rodin

are

SCULPTURE

sculptors

foreign

seen

Only

OF

HISTORY

and

Georg
is

the

Hugo
ful
powermonu-

MODERN

in

ment

Hamburg.

the

of

Homo

restrained

sentiment.

works

and

with

(b.

and

with

full

has

Rodin.

been
his

Among

reliefs.

He

has

statues,

also

(b.

1868)

busts,

and

Hahn

portrait

works

and

1877)

Hermann

an

later

dignified

bronze

polychromy.

was

whose

are

Elkan

small

successful

especially

of

some

Bartholom6

by

are

(1868-1905)

David)

Benno

medals

experimented
is

the

375

SPAIN

Hudler

sculptor,

and

influenced

greatly
best

realistic

Ecce

IN

August

able

exceedingly
{e.g.

SCULPTURE

medals.'
-

Spaik

The

Neo-claasie

Period.

the

In

early

"

Spanish

century
in

of

Jose

Alvarez

Saragossa"

May,"

(1817)

of

Bougel

the

earlj'

known,

Bellver

(b.

Medardo

Jose

1845),

Sanmarti,

and

The

the

Other

'

(b.

to

1851),

(b.

of
works

of

LuetlteoB
Wilhelm

1872),

Bossord
Richard
ISSO),
Richard
rrputation

Dittler

Riedisser

|b.

Theodor

Adolf
before

Vilches,
and

demic
aca-

"The

Fisher,"

Martin,

Andres

Lehmbnick
Zutt

1914.

(b.

(b.

TaMbner

Hoetger
Joaef

(b.
1867).

{b.

(b.
Hans

1881),
of

(b.

1871J,

these

Hermann

SrhweRerJe
had

1873).
Kolbe

Geom

attained

Hans

(b.

18701.
Habich

Ludwig

(b.

lS7g).

Peterich

1868),

Met"ner

Hoernleiii

1874),

Hoeffler

AU

(b.

Friti

Paul

1863),

Frant

1870).

1873),

(b.

EtiKelmann

not

"re

Volkmann

Artur

is

Manuel

irboin

ol

Bomo

(olIowiuK

Stiic-k

Richard

IgnatiUB

Bernhard

1879).

Fmm

IK56),

(b.

time,
the

are

naturalism

to

(1813-1877),

present

text,

1S6H).

Gosen

(b.

the

Barlach

1870).

von

1874).

Wilhebn

Elias,

Ponzano

the

(b,
(b.

Erngt

1869),

Lanur

of
in

Lanii

Kmil

(b.

Ponciano

mentioned

Hermaiin

(b.

Jose
classic

approach

An
"

aculptora

those

1864),

Ricardo

Figueres.

Gemmn

inferior

Mariano

statue

Vallmitjana,

NcUiiraltsm.

Rise
in

seen

(b.

Juan

and

Aleu,

Yenancio

charming

well

1812),
relative

the

Barba
is

1871),

from

departs
his

in

precedents
Agapito

(d.

Piquer

who

Alvarez

Madrid

(b,
their

of
Other

Ramon
in

and

"Defence
Second

Jose

Alvarez,

Francisco

(1824-1869),

his

"The

are

Cervantes

Deliver,

Jose

(1817-1876),

Jose

tries
coun-

significance.

century

of

statue

brothers

the

of

son

whose

the

teenth
nine-

mythological

by
of

patriotic

of

part

known

monument

of

(1805-1830),

(1767-1831),

his

works

spirited

artists

is

the

other

of

and

allegories

(1768-1827)
and

those

joined

academic

producing

works.

sculptors

of

part

Johannes

(b.

1877),

Haller

(b.

1SS2),
considerable

(b.
and

376

Eduardo

0ms,

and

in

Spanish

head

of

best

known

Jose

the

Spanish
of

especially

Scutptora

fecent

in

as

become
nineteenth

century.

they

after

other

Their

truth,

French

Spanish

work

the

is

sculptors,

earlier
and

the

serious;
Rodin

by

in

in
has

of

part

influenced

lacking

not

are

for

sculpture

earnest

although

sculptors

numerous,

Europe,

in

was

and,

are

of

him

mentioned

figures.

Time.

time

it

whose

With
be

"

than

the

(1892)

works.

female

of

present

the

At

Columbus

should

countries

and

Benlliure,

Gandarls

Present

other

popular

strive

the

the

most

more

and

of

and

years

Spain,

Mariano

sculptor

becomes

century,

excellent

de

Jose

Medina,

naturalistic.

frankly

many

de

tendency
the

Christopher

receiving

and
is

latter

is

his

of

part

stands

of

Alcoverro

This

later

innovators

Isabella

group
the

the

Monserrat.
the

Sabino

Pagnucci,

sculpture

of

SCULPTURE

Jose

Jose

pronounced

modern

OF

Barron,

Diaz,

Angel
more

is

HISTORY

and

sincerity

originality.'
Russia

Small
has
to

Bronzes.
existed

sculpture

in

of

bronze

the

centuries

berich

Rafael
Ju"n
Juan

Alcaide.
Cipriano
further

(b.

Gragera,

Julio

Embil.
Atche,
VaoceU,
SaniBD.

was

are

Aguetin

Jose

Miguel
Jose

Carbonell,
Folguerae.
Ipnglheiied.

in

Franciaco

Phrbs

the

Eeheandia,
RoyneH,
Angel
Gines.
Lorenio

Ecequeil

Anloiiiu

Trillea,
Enrique

Alaina,
Jose

Campeny.

Claraao,

Coullant-Vatcra.
Ruii

MartiDei.

Lie-

EstaDy

Oale,

AboUa,
Zamorano
y

mi^t

Leal,

Susillo,

Borraa

list

Miguel

Obiols,

the

Rodrieue*,

Bnigera.

Gabriel

Pedro

trian
eques-

Fuxa

and

Gustavo

and

tieth
twen-

Samon-

Blay,

Luciano
Llimona

of

works,

horses

Andrea

Migiiel

brothers

and

animals;

Serratora,

in

erection

chiefly

are

of

Marinsa,

great

least

interesting

their

sculptor

Anicelo

Querol,

with

or

Nevertheless

nineteenth
of

tion
erec-

at

the

subjects
others,

skilful

open

the

number

or

is,

air.

hostile

the

emperors

discourage
the

Lancere's

Arabs,

182S)
them

Among

Miguel

bronzes.

Cossacks,

"

climate

produced

considerable

small

in

have

the

Russia

is

forbidden
of

to

as

monuments

has

church

honor

and

harsh

The

state

in

lacking,
so

sculptors

chiefly

the

except

in

Sculpture

"

times.

recent

round,

is

stone

or

Russian

Joae

the
statues

centres,

great

marble

TToubetskoy.

until

marble

officials,

'

Prince

hardly

Capella,
be

still

CHAPTER

MODERN

The

Classical

Revtwd.

in

in

subject

years

which

by
his

in
and

potter,

larger
pupil

of

purity

and

works

of

H.

manner

Eve
is

square

Chanirey.
Chantrey

his

Westmacott.

and

ability,

good

taste,

His

ideal

in

Museum,

and

Lord

touch

beauty

was

The
the

chief

combined

Eve

at

column

his

His

the

the

tain
Foun-

in

gar
Trafal-

Legatt

Francis

Abbey,

of

Canova.

little

at

classic

in

of

St.
378

Pitt,
of

Paul's,

Fox,
Sir

of
and

Ralph
are

field,
Lichment,
treat-

Westmacott
several

produced

sculptures

those

originality.

principal

his

ments,
monu-

technical

Children,

Richard
He

but

pediment

in

but

are

Sir

style,

and

showed

Worcester,

at

pupil

he

Sleeping

sentiment.

monuments

Collingwood,

which

the

as

sepulchral

many

in

refinement,

such

of

neo-classic

monumental.

Westminster

and

Resignation,

(1775-1856)
statues

Sir

Gibson.

produced
statues,

works,

the

with

with

designed

"

busts,

and

Homer

work.

(1781-1842)

few

his
the

on

work
the

of

poems

who

in

Nelson

time

best

successful.

themes

the

less

seven

conditions
that

formal

(1788-1867),

religious

Listening

the

His

are

and

are

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for

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the

reliefs

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sculpture

with

Josiah

of

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importance,

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to

marble

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Edward

and

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of

style.

for

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John

by

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Canova

designs

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classic

in

making

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classic

himself

of

are

where
of

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entirely

*a3

done

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to

was

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to

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work

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"

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early

BRITAIN

Boily.

sculpture
His

he

1787

GREAT

Flarman.

English

(1755-1826).

but

IN

SCULPTDRE

classicism
man

XXV

good

works
the

are

British

Percival,

in

Abercrombie

examples

of

MODERN

his

SCULPTURE

and

correct

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was

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he

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is

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strictly

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garments.

Venus,"

the

the

of

work

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mediaeval

of

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Pitts

Richard

John

in

imitate,

to

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art.

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Thomas

until

"

time

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be

regarded

was

Alfred

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decorative
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to

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breadth
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of
of

real

freedom

to

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to

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Duke

and

who

man

sufficiently

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work

sculpture

in

pupil

the

survived
century,

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to

(1806-1864).

transition

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inspiration

exhibit

(1790-1864),

traditions

follow

monument

well-known

school

The

(1817-1875),

not

worked

nineteenth

and

the

ancient

who

Jones

time.

classical

attempts
of

qualities

classical

life

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than

Behnes

of

like

works,

more

E.

the

(1799-

were

John

that

Stevens

who
his

William

beginner

George

but

Angelo,

the

as

also

greater

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from

away

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of

(1790-1858),

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his

middle

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brilliancy

whose

the

Henry

and

the

toward

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of

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Macdowell

little

forms,

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Stevejia.

some

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as

(1784-1845),

Kirk

Alfred

of

some

on

used,

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are

and

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the

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tised
prac-

sculptors

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contemporaries,

other

robed

statuary.

Thomas

Durham

the

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and

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Joseph

in

is

timidly

richness

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wer"

(1790-1840),
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of

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school

all

statuary

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classic

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of

"

strictly

1870),

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Hylaa,

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rather

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colors

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marble

white

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Victoria

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1862

revive

to

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and

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earliest

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similar
His

Canova

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then

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1844.

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the

of

Shepherd

Sleeping

Psyche

Cupid,

Hero

the

Gibson

he

remained

and

work

original

John

where

379

BRITAIN

sculptor

Rome,

to

Thorvaldsen

and

in

English

noted

GREAT

style.

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most

1817

IN

sen,
Thorvaldhis

master.

of

Michael

Wellington,
His

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marked

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380

his

The
the

is

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and

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of

figure

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of

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Woolner

popularity

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late

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latest

like

other
of

spirit

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of

members
the

medallions

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Sir
"

an

by birth,

Austrian

toward

naturalism.

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his

the

best,

Dean

Westminster
his
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works

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life

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kinds

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hall

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good
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of

was

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decoration

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;

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b

it.

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in

active

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Henry
in

sculptor
was

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activity

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some

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ably

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Albert

possibly
and

spirit.

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was

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Lant^ri,

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to

(1834^1891),

of

sculpture

Edouard

he,

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at

modem

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Armstead

various

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works

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of

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tried

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John

Abbey,

ideal

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of

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portrait

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portrait

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1848,

originality

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founded

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century.

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proof

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work.
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of

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lifelike,

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Asia,
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Virginia,

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but

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group

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James

faithfully

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art

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works,

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Foley

earlier

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Richmond,

at

(1813-1894)

and

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statues

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Reynolds,

except

John

traditions

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the

in

Woolner.

the

Albert

Joshua

but

SCULPTURE

"

followed

portrait

on

OF

Marshall.

Foley.
1875)

HISTORY

author

Memorial,

in
in

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of

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'

MODERN

fountain

SCULPTURE

King's

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College,

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187).

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Victoria

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monu-

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of

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381

BRITAIN

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GREAT

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IN

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Paris

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The

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SCULPTtTRE

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OF

HISTORY

hide

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pered
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of

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Occa-

which

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SCULPTURE

MODERN

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modern
mention

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1896),

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in

monuments

(1886)

this

large)

of

Thomas

Girl"

for

modelled.

superbly

and

he

heads

(1852-1901)

Ford

of

impossible

and

themselves

where

restful, delicate,

is

be

Havard

busts

too

not

is classic

J.

"Slave

content

Italy,

"Lycidas"

statue

number

it will

"

carved,

are

realistic

carving

to

years

His

exquisitely
they

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and

portrait

1889.

to

went

nude.

Lucchesi.

several

sculptors

he

1889

the

383

BRITAIN

is meritorious.

Swan.

(when

marbles

most

work

and

1872

realistic

at

whose

produced

between

of

considerable,

is

Ford.

1854)

his

studies

sculptors

GREAT

IN

influence

several

large

Lonsdale"

in

Westminster,

and

"Physical
in

South

great

vigor,

work

is

be

Africa

bust

of

in

London.

which
be

to

as

in

executed

In

shows

later

"

Lord

Athlete

Python"
The

"Needless

his

the

statuette

Alarms"

him

of

the

of

knowledge
its

(Jilbert.

the

remarkable

of

and

nique
tech-

and

modelling

possessor

form

prove

of

master

"

Sluggard

and

188),

ling
strang(1877),

"

statue

(Fig.

subject

reality.

Leighton's

is

admired

classic

and

there

most

life

and

these

his

how

of

full

duplicate

all

But

simplicity.

Clytie,

treated

SCULPTURE

was

and
and

breadth,

so

OF

which

Energy,"

stands

can

HISTORY

the

human

movements.

Frampton.

olds-Stephens.
Reyn-

Drury.
Friih.

Jones.

Pegram.

"

Alfred

Gilbert

the

(b.

author

of

such
"

"

Kiss

toria,

is

full
little

those
marble.

of
of

bronze

life,
florid,

who

is

playful

but
combine

Sir

in

casting

George

his

and

taste

metal
James

broad.

His

pure

and

Frampton

and

due

to

colored

stones

(b.

dre

him.

refined.

1860)

in

revival

the

manner

great

work

the

of

is

is

also

decorative

use

England

royalty.

of

and

metal,

method

embodiment

an

done

of

not

trait,
por-

majesty

has

the

is

admirable

but

deal

Vio-

Queen

Winchester,
an

the

Tragedy."

of

at

merely

He

Victory,"

and

statue

ures,
fig-

Icarus,

of

Comedy

of

ideal

Perseus,

as

The

His

busts,

many

and

monuments,

is

1854)

of

perdue
His

work

is

sometimes

He

is

with
is

one

white

sculptor

of

386

work

His

clever.

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ity.

His

good
such

is

and

effective.

also

his
several

ideal
The

figures.
in

seated

"Spirit

an

is

Toft's

memorials

his

Birmingham,

and

and

thoughtfulness
is

Belgian,
is due

is

Fehr

(b.

1867),

the

in

India

and

relief

high

of

Other
are

(b.

ill

(b.

especially

art,

1862),

F.

Gilbert

Bayes

Frank

Mowbray

Other

E.

Schenck

(b. 1871),
Taubman

(d.
David

Colton
and
himself

and

graceful
too

much
school.

any

English

modern

John

Goscombe
who

1863),
of

England

of

its

life.

W.

that

in

possesses

"

Rhind,

Mackennal

Bertram
French

Birnie

of

R.

showed

follower

blind

full

and

he

all

excellence

W.

attractive

but

Henry

with

and

works,

his

Love,"

Sculptors.

English

William

of

become

to

in

Rodin

refined

Art.

work,

monuments

ideal

Crown

is varied

work

public

of

naturalized

importance

of

seriousness.

numerous

by

"The

individuality
His

of

author

tions,
composi-

life, vivacity,

and

Cardiff

at

chief

his

his

but

thoughtful

full

College

Royal

sculptor,

depth

influenced

strongly

the

at

female

ideal

are

but

gifts,

female

nude
and

LantSri,

Edouard

cleverness,

lacks

design,

date,

recent

nude

War

his

and

busts,

varied

productive

workmanship,

fine
of

teaching

his

to

of

of

hibited
ex-

followed

was

part

Boer

iK"rtrait
reliefs,

This

the

"The

and
several

most

of

poetry.

sculptor

portrait

those

especially

the

Perseus"

and

monuments

nique
tech-

works,

"

Cellini),

dignified, refined,

arm-chair,

composition.

ideal

Contemplation,"

of

his

designs

Awe,"

modelling

for

statues,

producti\';

decorative

Lilith,'' in 1889.

statue,

schools

and

many

signed.
de-

Frederick

"

vigor

of Loch

public

"

first

produced

after

Toft,

his

Benvenuto

numerous

Albert

and

and

well

Lambeth

ability,

truth

Nymph

of

reminiscences

statues.

has

He
"The

Colion.

taste,
of

excellent,

are

"Dionysus,"

Spearman,"

C.

of great

and

the

of

pupil

is realistic, full

work

modelling

as

by

an

Fehr.

Drury

artist

and

(with

contemplative,

LantSri.
like

Pomeroy,

under

SCULPTURE

quiet,

is

Toft

Pomeroy.
William

OF

HISTORY

is
G.

Rodin,
1908),

(b.

1868),

Herbert

by

Hampton

Edward

Charles
James

1860),

influenced

much

George

McGill,

sculptors
(b.

John

Wade.
Allen,

Pittendrigh

MODERN

SCULPTURE

MacGillivray

(b.

Derwent

still

Mortimer

ability

enough

and

the

who,

Belgian,

been

said

are

list

would

indicate

to

excellence

genuine

art,

Frank

who

McClure,

there

be

Fisher,

clearly

tors
sculp-

uninstructive,

has

although

C.

Indeed

Thomas,

complete

but
;

and

J.

Francis

1868),

Turner.

Frederick

and

387

BRITAIN

{b.

Alfred

and

as

Brown,
of

GREAT

Montford

R.

1872),

such

others,

are

Paul

1856),

(b,

Wood

IN

of

influenced

really

by
form

the

foreign,

national
a

the

modern

numerical

Bnglinh

sculptors,
French

especially
English

strength

school.

and

CHAPTER

IN

SCnLPTDSE

Early

Attempts.

naturally

the

sake

of

of

in

with

decorative

sculptor
the

visitetl

of

Washington

statue

exerted

with

his

Europe,
men,

has

ability,

if

had

we

Schuylkill,
a

bronze

Rush's

activity
in

copy

which

bust
of

He

by

in

Washington

in

New
1824

but

is

1825,

Liberty,
to

prominent
of

ington
Washof

apparently

been

replaced

art

of

also

was

Fine

John

preserved.

first

the

by

Philadelphia.

American

was

some

of

Nymph

Academy

the

to

returned

of

Park,
to

America

bust

the

has

which

to

(1757-1833),

of

Jerse"',
or

his

Fairmount

Philadelphia

Rahway,

made,

good

statue

of

he

at

work

eccentric

came

Rush

contribution
the

of

his

his

and

busts

though

made

Capitol

ardent

training,

no

original

important

his

or

stands

founding

(1790-1852),
training.

wooden

exist,

and

and

and

French

great

monument

of

chiefly

1785

State

1740),

William

judge

which

most

in

still

little

may
the

was

support,

number

which

in

in
from

himself

brief

The

little

disappeared.

Philadelphia,

stay

and

coming

The

the

elaborate

an

with

making

in

and

America

busied

(b. Rome,

for

met

of

several

is

influence.

plan

project
after

his

Cerrachi

Giuseppe

1791

but

Virginia,

in

States

which
but

wax

houses.

I'nited

(1725busts

after

but

private

for

Wright

made
both

is,

earliest

mentioned

Patience

statues,

the

ptermanent

no

Italian,

an

States
The

be

may

Irishman,

for

Houdon

but

admired

few

carving

Richmond,

in

made

United

growth.

Jersey,

greatly
Dixey,

1789,

the

Mrs,

New

were

STATES

recent

completeness,

John

in

interest,

Bordentown,

England.

UNITED

of

little

which

statues

Italy

only

possess

1785)

THE

Sculpture

"

enough,

attempts

XXVT

his

Arts,
Frazee

deficient

marble

portrait

in

SCULPTURE

by

American

an

John

Jay,

New

Haven,

no

and

also

John

to

of

no

Grace

Webster,

(1791-1858),

little

native

and

training,

for

Daniel

Augur

had

without

Wells

busts

Hezekiah

389

STATES

of

made

have

entirely

Classic

with

it

of
but

ability,

his

work

exerted

in

nineteenth

his

by

where

from

than

to

as

marble

but

he

remove

be

but

and

his

conceived.

statues

doors

The

of

part

work,

is

the
the

fine,

in

country,

at

baptistery,

as

one

it deserves

originality.

Mills
is

of

the

on

and
a

mounts
sur-

dignified
spired
in-

designed,
Decay

capitol,

though

the
at

mention.

His

the

mourning

the

than

capitol,

well

are

the

so

good,

classicist.

of

Monument

is

from

original

doors

and,

is

are

Washington,

of

Italy.

in

statues

Clark

Indian

portrait

statue

great

by

figures

There

the

and

independent

but,

life

more

adornment

the

Washington

especially
the

of
of

group

also

great

and

bronze

of

nakedness

shown

cast

was

His

figure.

pediment

Race,

busts

was

capitol

the

rest

the

Greenough
his

of

human

much
in

his

are

of
the

position

popular.

Thorvaldsen

which
of

produce

of

of

have

to

of

pupil

Ghiberti's

by

his

dome

impressive

portrait

within

like

the

(1813-1857)

was

and

and

suggestion

placed

works

part

known

attitude

adaptation

an

best

great

face,

said

"Freedom,"
the

His

Crawford

colossal

not

the
all

cannot

Powers,

not

in

is

of

quarter

widely

present

exceedingly

was

nudity.

Thomas

"

Italy,
nated
domi-

and

be,

(1805-1873),

Slave"

sentimerft

if
to

its

His

lived

classicist,

refined

it
in

produces

Powers

"Greek

gentle

intended

in

last

most

garb

might,

Raphael.

by

Hiram

thorough

the

ChantingCherubs

painting

busts.

His

it

"

His

au'.

open

author

its

effect

the

is

in

(1805-1852).

Thorvaldsen

until

States

"

sculptors

sculpture

and

which

statue

study

to

Canova

Washington

Zeus,

Greenough

Greenough

century.

Olympian

better

of
United

the

of

statue

capitol,

Horatio

Americans

school

sculpture
the

of

le"l

Crawford.
trained

by

practised

art

an

as

first

classical

Powers.

Greencntgh.

work

the

who

was

the

and

School.

sculpture

begins

of

bust

others.

seems

American

its

He

UNITED

influence.
The

He

York.

almost

was

THE

sculptor,

New

Church,

he

IN

earliest

whole,

well

Richmond

equestrian

is

390

an

of

said

the

and

country,
Auburn

his

American

equestrian

of

statue

General

excellent.

this

that

I'almcr

1817),

he

had

and

Europe,
and

In

Mercy,

The

reliefs,

he

and

five,

Angel

but

in

R.

the
of

Milmore
hved

of

strictly

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little
he

"Indian

such

"Spirit's

the

what

were

very

Resign^

as

Flight,"
of

many

Faith,

which

sentiment.

visit
Girl"

subjects,

works,

poetic

were

His

portrait

French.

correct

life

in

in

which

he

William

and

classic
and

the

His

New

comprise
such

statues,
in

the

York,

He
to

Story

works

as

portant
im-

equestrian

in

down

style

thirty-

most

Washington.

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Medea

age

the

as

Webster

handed

of

His

such

Daniel

Florence.

Polyxena,

Thomas
classical

strictly

after

American.

group

ideals,

1851

his

of

statues,

the

Emancipation
high

of

public

Boston,

Hosmer.
"

works

thoroughly
are

in

Rinekart.
few

most

remained

and
after

time.

Dow

did

1873

His

Sepulchre,

Rogers.

produced

works

artist

Flora,
the

much

Florence

Washington
and

of

until

American
other

ington
Wash-

creditable.

1819)

lived

his

in

as

Infant

Story.

(b,

strictly

exhibits
also

are

Ball.
Ball

the

for

short

of

statue

obtained

Not

erected

Erastus

carpenter,

also

Clark

Washington,

"Freedom."
a

is

statue

in

equestrian

an

Union

equestrian

Washington,

Jackson

country.

only

these,

Spring,

busts

this

Captive,"

popular.

made

first

at

in

then

"White

tion.

also

jects.
subin

the

equestrian

General

went

believing

commonplace.

first

Crawford's

cast

(b.

training

of

He

1853.

and

are

bronze

American

though
in

rather

the

modelled

Mount

first

Washington,

work,

Scott,

this

(1814-1886)

with

of

chief

works

other

country,
in

erected

his

in
in

the

is

1835,

classicist,

concerned

Winfield

(1815-1883)

Mills
in

His

Brown

monument
is

York,

be

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to

become

to

should

art

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Square,

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in

carved

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Kirke

Henry

but

Br.

His

1829.

fire

bj-

actually

of

recast),

(1806-1868)
in

destroyed
statue

statue

(now

Italy,

His

came

bronze

here.

cast
to

that

Hughes
America

to

marble

first

cemetery

statue

Ball

Hamilton,

Alexander
be

to

early

SCULPTURE

"

who

Englishman,

statue

OF

iWmer.

Brown.

Hughes.
was

HISTORY

the

was

his

an

pupils

(1819-1895)
a

number

Cleopatra,

Metropolitan

Mu-

SCULPTURE

in

seum

New

an"l

Randolph
His

Libyan

less

are

cold

the
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and
the
are

He

was

same

of

Chief

and

1908)

was

She

Taney,

worthy

produced

o-the-Wisp,"
few

portrait

Cenci,
the

before

but

her

the

Other

Shobal

Clevenger

King

A.

of

Exposition

John

Edwaixl

Greek
of

statue

is

nified
dig-

(1830Rome.

at

and

"

Willof

exception
classical

Hosmer

the

tions.
producBeatrice
the

was

last

of

Brackett

(1822-18.58),

fb.

1806),

1876
Joel

were

T.

Hart

(1812-184:1),

Joseph

(b.

Edward

1818),
Paul

Benjamin

idrks

al

Ann

Akers

Arbor,

falls

activity

whose

sculptors

"

(18W)-187C),

1870),

Puck

most

the

to

Zenobia,

Miss

adorns

school.

Centennial

Vail

which

His

"

the

in

Hosmer

formal

In

works.

replica

the

with

the

Faun.

his

Gibson,
"

1855

Baltimore,
of

Baltimore,

figures,

and

Oenone,

life.

sleeps

Harriet

works,
cold

in

his

.seate"l

sculptor

little

other

Sleeping

Sculptors.

English

are

classic

strictly
Other

amu.sing

are

the

the

the

and

Henry

Washington

His

Miss

two

statues,

Such
and

of

rest

superior

Annapolis

at

and

stay

cemetery.

original.

more

of

bronze

greatly

monument.

pupil

is

short

in
a

he

Providence

Endj-mion

and

are

Columbus.

Institute,

Gallery

Clytie,

of

(marble)

His

in

Ruth

William

Peabody

Greenmount

at

life

the

originals

Slave,

hardly

Justice

the

Corcoran

the

though

for

classicist.

grave

work,

Italy

spend

to

three

Greek

sculptor's

Slave,

1858

and

the

Powers'

famous

to

figure,
and

the

at

noted.'

1851.

Washington

the

most

after

England

at

"America"
are

of

thorough

contains

in

casts

room

the

the

Museum

forty-two

and

went

thither

Rinehart

Pleiad"

Detroit

at

returned

"Lost

capitol

England

graceful

in

the

patra
Cleo-

productions.

Rome

Pompeii,"

illustrating

works

(1825-1874)

Rinehart

of

in

in

his

admired

doors

larger

of

most

lived

For

bronze

admired

much

was

character.

"lesigned

than

Girl

The

country.

similar

Among

Blind

lifeless,

native

of

lifeless

His

figures.

greatly

were

391

STATES

portrait

(1825-1892)

the

somewhat

his

and

UNITED

several

Sibyl

Rogers

"Nydia,

but

THE

and

York,

his

and

IN

Henrv

Dexter

(1810-1877),
Mozrer

(1812-

Sheffield

tholomew
Bar-

(I82.'j-I8(il),

Mithigan,

nhere

he

392

John

Adams
Leonard

1881),

Volk

(1815-1882),
(Mrs.
the

and

most

which

groups

their

realism
Civil
of

and

the

John
Kirke

Henry

(not

life.

of
The

His

equestrian

The
many

of

the
in

influence

Mr.

which

still
worth

(d.
in
in
up

to

Powers,

1915),
1844

at

son

his

residence

of

the

to

the

Italian
of

sons

W.

of

school.

His
in

Hiram

W.

early
of

Virginia,
style

Italy,

was

Such

Moses
received

thoroughly
after

which

part

Paris.

of

the

The

did

American

and
Jacob
his
German
it became

T.

not

sculptors

Preston

are

teenth
nine-

change

but

war,

few

Powers,

Story.

Italian

The
"

the

Society

influence.

great

influence

later.

in

Exchange

Ezehiel.

Franco-Prussian

until

the

in

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Margaret

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SCULPTURE

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394

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SCULPTURE

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SCULPTURE

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of
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396

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SCULPTURE

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SCULPTURE

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UNITED

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398

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SCULPTURE

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SCULPTURE

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402

HISTORY

Sculptors

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dignified

Mas

New

and

Indians,

at

is
L,

versatility-.

and

Man"

Great

high

and

Jerome

ISGd).

Carl

Panama

and

1805)

also

the

elder
Bela

and

his

of

powerful,

are

study

are

LopM

to

these

(b.

sculptor,

Poller,

"Appeal

the

the

figures,

but

exhibited

was

have

1865),

University,

has

1861)

works,

"Medicine

the

Kitson

imagination

statues

which

"

Protest

193).

Chicago,

Brooks.

Samuel

ability
ideal

(b.

other

equestrian

upon

and

good

Dallin.

(b.

Yale

at

rare

delicate
Dallin

Cyrus

portraits

art

of

medals,

reveals

good

Peace"

done

decoration.

his

sculptor

modelling.

of

sculptor

also

teachers;

architectural

busts,

his

and

studied

is

Paris,

which

largely

'^

in

include

of

all

animals,

to

has

Kitson

sculptors

as

1867),

works

His

an

Shrady

animal

Pratt.

Hudson

productive

York,

M.

confined

as

human

with

Henry

who

1860),
Proctor

combination

Englishmen,

two

Henrj-

work

especially

(b.

means

"

done

Harvey

public

Phimister

himself

Itotli

Kirke

good

fields.

S.

Bachmann.

(b.

Eli

several

(on

Henry

1868);

no

distinguished

Frederick

work

in

(b.

horses

produced

family

animals

Borglum
work

has

also

cat

Edward

beasts

to

Edward

are

French)

figures;

the

of

H,

whose

1871),

though
and

of

sculptor

Solon

figures;

human

animals

prefers
IS62),

other

has

made

C.

who

1857),

men

wild

himself
Daniel

by

these

of

represented

devoted

riders

have

sculptors

chief

has

has

for

Bush-Browne

(b.

who

1843),

Potter,

occasions

Several
"

The

animals.

(b.

Kemeys
C.

Animals.

of
of

specialty

SCULPTURE

OF

and

these

PtnnaEaii
(b.

ot

the

are

Louis

Trail,"

Fig.

192),

by

(b

1869),

do

at

the

Oustave
me"tia

all

SCULPTURE

IN

Philadelphia.
Cox.

In

"

much

Henry

Calder

has

1862)

much
groups

and

fine

St.

and

of

Man"

and

the

originality

and

Murray

power.

Charles
Phila-

also

are

of

shown

and

Cox

his

Panama

has

Brinton

is also

Chief

he

Samuel

produced

industrial,

at

Exposition

has

grace

of

Acting

Sculpture

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ling
Stir-

much

been

as

great

of

(b. 1870)

has

but

teenth
nine-

Charles

at

Alexander

teacher,

work

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Building

full

are

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Alexander
of

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Art

power.

and

tion
Exposi-

the

Louis,

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figures.

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decorates

teacher

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busts,

Pan-American
and

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E.

after.

man,
French-

art,

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the

time

some

1825),

commercial

Ellicott,

about

active

an

{b.

Murray.

chiefly small

bronze,

some

His

at

been

sculpture,
in

for

CatiUr.

Albert

Jackson

productive
and

and

popular.

Henry

were

century

(b.

portraits

sculpture

liaseltine,

J.

Milne

Bailly

A.

403

STATES

Grafiy.

Joseph
with

make

to

UNITED

Sculptors.

PhUadelphia
occupied

was

did

Early

THE

delphians.
ValenitJie.
horn.

Frankensiein.

Edward

"

studied

V.
at

produced
the
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of

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(b.

in

and

Paris,

Italy,

interesting

and

Washington

genre

figures

at

is the

very

and

impressive

Richmond,

Kiss

in

Virginia,

Berlin.

monuments,

of

Ephraim
Munich

of

and

is

Astyanax

archaeology.

work

under
and

at

and

studied

1838),

portraits

Memorial

Andromache

known

Hebisso.

numerous

Lee
few

Bam-

Keyser.

negroes.
a

curious

Keyser
Rome.
monument

Lee

He

among

and

University,
ideal

His

group

of

mixture

(b.

1852),

His

most
to

has
them

ment
senti-

of

timore,
Bal-

widely

Chester

A.

404

HISTORY

Arthur

in

the

is

relief,

the

even

Bamhom

Jewish

His

monuments.

Cincinnati
The

are

though

been

and

Taft

Hibbard.

(b.

1860),

active

an

His

works

of

in

1872),
a

Chicago

at

Rebisso.

his

He

art.

satisfactory,

of

and

tary
milimorial
Me-

Other

and

tors
sculp-

Crunelle

(b.

who

talent,
and

Mulligan,

J.

and

conscientious

Leonard

originality

is

lecturer.'

Columbus

processes.

Charles

children,

the

serious

He

and

portraits

is

Bock,

marked

of

of

technical

Richani

are

sculptor

is

Lorado

Beaux-Arts.

writer,

part

latest

MuUib

makes

Frederick

Hibbanl.

Cleveland.

Louis.

St.

works,
Omaha

limited)

not

ideal

His

and

the

considerable

N.

His
In

modelled.
skilful

sculptor

Among

his

works

Matzen,

Cleveland

number

monuments.

of

of
work

is

are

of

thoughtful,

"The

Tired

his

Walker,"

of
of

sculpture.

much

occupied

has

18G0)

modern

the

as

produced

reliefs,

(b,

is

ability

and

public
and

sympathetic,

prefer

at

buildings

"Awakening
that

Art,

Tiiden
to

chief

decorative

fine

portrait

Douglas
seems

show

though

busts,

California
who

"

School

Louis

tive
decora-

many

the

Faun,

St.

expositions

the

at

the

Eternity,

production

Herman
in

of

produced

seen

adorn

works,

Kiss

the

to

Cleveland

professor

"

the

were

In
"

has

others

Coast.

Pacific

1855)

which

Louis

St.

Louis.

Spring,"

(h.

of

some

and

St,

The

Bringhurst

P.

Robert

In

T.

sculptor

des

great

the

He

master

Ecole

in

of

Washington.

specialty

C.

sculptors

Crunelk.

chief

Institute,

are

One

the

Art

sculpture

and

of

the

at

monuments.

at

and

are

Bock.
the

Chicago

pupil

teacher

sculptor

modelled

of

which

School.

his

In
"

Taft

public

Louis

teacher

statues,

J.

and

Earlier

successful

Clement

finely

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in

great.

Chicago.
gan.

is

imagination.

equestrian

many

not

many

Stein
work

portraits

Frankenstein

long

produced

has

and

The

Cincinnati

"Magdalen"

John

has

latter

At

produced

nude

originality

shows

eemeterj-

has

1857)

York.

Baltimore,

at

admirable.

more

(b.

New

Albany,

at

cemetery

in

Memorial,

SCULPTURE

OF

is

well
a

ver"'

subjects.
"Base

Ball

SCULPTURE

Player,"

Tired

"The

called

Bear

"The

has

and

able

an

and

the

of

sculpture

small

of

Vaughn

of

Miss

Helen

Katherine

Cohen

Ruggles)
Young

some

attention.

Eberle,

Polasek,

Albert

art.

good,

(b.

Miss

Miss
Miss
Miss

Ladd,

(b.

Brooks

(b.

Janet
Elsie

of

Mrs.

New

H.

Bracken

Burroughs

Scudder,
Mrs.

Ward,
Mrs.

Yandell,
all

Miss

Julia

Can.l

Enid

whose

Massachusetts,

Woodman

1874),

perhaps

are

delightful

are

made

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Cambridge,

have

New

of

1876),

3\Iiss

Philadelphia

There

"

of

Only

Albin

of

Clio

York

H.

Miss

(Miss

Kitson

Boston.

Sculptors.

sculptors,

ship,

of
of

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who

1872)

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Coleman

Anna

schools

important

animals

(b.

Whitney,

country
in

and

women

MacNeil,

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Payne
Mrs.

of

Mears

B.

Evelyn

of

1876)

A.

local
many

children

Mrs.

Chicago;

1871),

Theo

of

teachers,

as

the

occupied

the

most

(b.

sculptor

1871),

Bracken,

(b.

sculptors

of

parts

so

the
the

and

(b.

Hyatt

Ilermon

Harry

Stackpole

active

time
in

Among

"

women

Mrs.

Miss

works.

ahilltj'.

Vonnoh

admirable

1871)

their

and

profession,

groups

most

and

Cummings

other

are

the

in

nevertheless

energy

Potter

Bessie

Anna

(b.

as

Sculpiorn.

note

instructors

are

their

of

find

few,

are

their

to

Women

Mrs.

Earl

are

He

other

W.

Ralph

1903)

especially

works

their

testifies

(d.

sculptors

duties

their

by

Melvin

1877),

Wells

them,

sculptors

part

numerous

of

York.

busts,

besides

Silence,"

pupil

New

by

Coast.

many

That

in

nical
tech-

great

1878),

monuments,

(b.

F.

(b,

of

America),

Waiter

all American

Nearly

where

in

{b. 1876

Marion

Pacific

and

large

and

controlled

always

not

^roup

Fountain,"
shows

work

resident

now

Gates

Edgar

1876),

1885),

sculptor

animated

Sons'

Aitken

Ingersoll

"The

Patjgiaii

{b.

"Native

the

Acrobat,"

extremely

His

405

STATES

"Young

imagination,

several

relief,

Haig

vivid

Robert

produced
fine

the

Hunt,"

taste.

is

and

Fountain."

ability

Tilden,

UNITED

the

large

"Mechanics'

perfect

THE

Boxer,"

Players,"

"Football

the

IN

whom
few

have
be

can

Harry

Laessle,

are

D.
Fred

also

promising

many

already
mentioned

here.

Thrasher,

Abastenia

Torrey,

young

attracted

Miss

Nellie

no

Paul

little
Man-

St.

Leger

Walker,

406

Miss

OF

promise

sculptors

younger

SCULPTURE

will

Chandler,

Giitner

Clyde

the

HISTORY

be

enough
the

continue

to

indicate

to

that

activity

of

their

elders.

American

It

Sculpture.

is

that

true

American

yet

to-day

all

are

they

satisfaction

by

artists

of

brought

thirty-six

A.

in

Fine

Arts

still

the

are

as

and

the
as

promise

of

excellence,
American

tion,
Exposisculpture,

direction

were

of

art

of

whom

of

life

of

sculpture.

their

the

works

hundred
one

are

prime

of

section

hundred

the,

the

able
remark-

was

States

six

of

of

Calder,

all

nearly

Panama

general

United

exhibit

in

the

architectural

the

nearly

sculptors,

whom

Sculpture
Americans
can

Stiriing

the

These

well

variety,

vigor

under

and

together.

of

and

Sculpture,

of

Department

decorative

have

they

which

At

pride.

many

excellence,

most

States

conscientiously

technique;

art

an

and

the

1915,

chief

Acting

greatest

United

opportunity.

and

art

with

of

increasing

national

in

and

and

ability,

created

and

the

the

becoming

regard

seriously,

command

complete

possess

imagination,
is

earnestly,

of

equal
in

many

working

the

sculptors

but

time,

be

to

can

of

masters

claim

who

arisen

tor
sculp-

no

"

has

liviiig

and

The
or

younger.

works

shows

the

CHAPTER

SCULPTUItE

IN

THE

XXVII

FAR

EAST

CHINA,

INDIA,

"

AND

JAPAN

Persia.

Alexander

"

the

over

entire

Persian

subsequently

226

ruled

who

leuddae,

conquest

this

time

is

the

the

clearly
for

are

small

the

in

or

Indian

is

Indian

make

it
of

old

Japan

the

seventh

Buddhbt
with

Mohammedans

rock

living
work

or

is

there
either

in

made

in

India

centurj'

The

by

extends

new

changed

Buddhism

his

it

proper

in
407

the

250
late

at

its

eleventh

in

lieu

lished
estab-

and

Thibet,

China,
in

reabsorbed

lai^ly

as

was

India

India,

from

King

B.C.

rapidly

to

as

religion

Brahmanism.

polj-theistic

Brahmanism

materials,
much

so

.state

was

art,
and

thought,

250

spread
Farther

manifestations

entered

it

About

approximately

later

of

perishable

tn

oriental.

Ceylon,

in

Hellenistic

modes

Buddhism

firmly
but

and

India

of

sculpture

from

sculpture

Brahmanism.

art

The

taste

entirely

Magadha,

Periods.

disappeared,

entirely
abnost

occasional

century.

plentiful,

delicacy,

descended

earlier

an

itself
and

much

all

monuments

the
of

volted,
re-

until
In

very

The

"

religion,

presumably

of the

ils
measure

has

1641.

not

in

cut

"

great

which

is

classes

not

In

execution.

in

though

but

liveliness,

in

art.

reliefs

Se-

lasted

empire

which

both

was

Greek

Arsacidae.

Arabs

Hellenistic

In

the

(Artaxentes)

(Sassanide)

large

part
metal.

Sculpture

also

Asoka,

of

of

deal

design

offshoot

Persia

by

Ardeschir

Persia,

civilization

India.

Parthian

Mohammedan

the

of

of

into

the

by

Greek

century

Persian

new

most

and

under

sculpture

an

reliefs

good

followed

by

extended

nearly

Persians

and

Great

empire
for

were

the

A.D,

the

the

B.C.

as

So

in

to

700

a.d.

eleventh

the

height

India

when

century,

the
since

408

HISTORY

which

there

time
The

divided

be

may

A.D.

the

Mediaeval

sixteenth

it

are

its

the

of

very

and

relief.s

are

Buddha

and

(perhaps

and

is

of

Bedsa.

in

reliefs

himself

does

spirits,

and
of

are

rounded,

art.

The

reliefs

occur.

the

tope

creatures

origin,
supple

all

other

the

of

the

The

at

of

forms

Udayagiri

in

as

Buddha

divinities,
of

Some

characteristic
caves

rative
nar-

here,

figure

human

phants
ele-

The

Indian

frequent.

appearance
one

but

B.C.,

ornament

life.

to

the

and

but

plant

Buddha,

of

are

century

Indian.

true

very

Indra

the

purely

Buddha-Gaya,

occur.

in

from

second

of

is

are

and

western

soft,

Much

legends

Barhut

hybrid

centaurs

origin

reliefs

the

places

though

western

the

to

more

beasts

represent

not

The

belong

but

origin,

of

both

even

of

ments,
orna-

sj-mbola

"

technique.

other

In

of

Buddha-

at

scenes,

spirit,

sive
exten-

plant

Buddhistic

reliefs.

nuAifx

which

Sanchi,

western

the
in

Udayagiri.

reliefs

last

of

common

the

legends

lions;

and

trees

ornamental

purely

and

the

of

Indian

decidedly

and

domestic

periods.

are

b.c.)

200

aggerated.
ex-

ment,
adorn-

all

represent

elephants

of

later)

through
often

and

elephant,

reliefs

native
e^^dent

are

at

(about

is

clearly

the

personal

rich

the

is

expressed

overcrowded

executed

couteut

for

liest
ear-

technique
art

superficial

are

Barhut

adoration

admirable
of

At

little

the

Sdnchi.

are

the

between

limb

of

not

are

especially

date.

varied

some

(stupa)

ot

about

Asia,

western

liking

often

processions

and

of

but

motifs,

Ga.\a

i,s

The

the

suppleness

great

brilliantly

the

(3)

"

Its

Although

and

anatomy,
is

early

work

a.d.

division

primitive.

not

qualities

There

Indian

form

clear

no

Buddha-Gaya.

art

form

These

study

is

beginning.

of

outset.

and

at

is

Hellenistic

rotundity

Strictly

may

to

b.c.

beginning

be^n

to

art

250

the

said

ture.
sculp-

Indian

650

to

to

a.d.

Barhtit.

Art,

the

from

careful

350

be

there

of

about

period,

about

650

which

though

from

the

at

about

.sculpture

admirable

Indian

early

of

development
history

predecessor.

Buddhist

derived

real
the

period,

period,

Buddhist

Early

the

(1)

Gupta

century,

and

little
which

period,

Modern

the

been
into

the

(2)

350

(4)

has

periods

SCULPTURE

OF

these

have
of

the

Indian

(about

in

common

are

the

and

Kenheri

art

directly

descended

by

broken

much

In

covered

with

reliefs

animals,

and

luxuriant

The

in

rotundity

and

Indian

art

of

forms

seen

the

the

in

earlier

In

general,

deities

and

be

is

beauty
of

technique
fine, the
and

V.

A.

most

Smith,

and

at

of

and

admirably
History

of

Fine

be

of

in

India

to

plastic

find

of

to

in

sudi

others

they

curiosity.

the

by

of

aesthetic

to

deed,
In-

But

the

wonderfully
effect

and

of

the

light

purely

Sometimes

surpassed.

and

ceticism
as-

are

attempt

is often

expressed
Art

less
passion-

for

surprising,
to

longer

no

forms.

these

sculpture

hardly

is

monstrous

objects

of

treatment

regard

but

composition

effect

descriptions

comfort,

is sometimes
are

the

may

in

fantastic

general

devotee

best,

Indian

mediaeval

designs
is

aid

marked

sculpture

little

too

attempted

exhibited

ornamental

Hindu

or,

not

knowledge

shade

passion

The

repulsive

only

is

form

religious

representations

with

acterize
char-

more

sculptors

bronze

or

books,

no

representation."

stone

the

in

given

as

considerations,

can

in

literally

"reproduce

The

mythology.

Hindu

and

beauty.

which

become
of

subjects

the

other

great

Buddha
has

are

and

naturalistic

but

teacher,

human

the

to

are

and

inorganic,

wanting.

now

are

of

even

the

the

and

like,

form

are

and
add

spirit

art

sympathetic
ascetic.

the

human

The

unreality.

of

beginning

divinities

the

sculpture
surfaces

the

often

cut

are

elephants

ornament,

times,

Ellora

the

ployed
em-

pagodas.

with

and

suppleness

the

modern

of

some

plant

from

and

demons,

deities,

boneless

and

mediaeval

of

is

and

temples

niches,

pilasters,

though

Sculpture

temples

Indian

and

Buddhistic,

adorned

and

rock

living

later.

Mediaeval

"

Mahavellipur

of

without.

and

of

century.

little

art.

decoration

the

the

from

than

Buddhistic

fifth

are

Sculpture.

rather

temples

monolithic

within

Indian

from
in

chiefly

to

of

twenty-sixth

the

DSogarh

at

Brahmanic,

is

modern

entirely

temple

Modem

and

Mediaeval

The

the

of

sculptures

The

apparently,

belong,

Ajanta

at

grotto

standing.

cave-temple

the

of

oenturj",

or

the

of

reliefs

interesting

fourth

seated

vestibule

the

in

the

after

whether

posture,

Buddhas

colossal

The

India

of

parts

"frontal"

in

always

all

SCULPTURE

OF

HISTORY

A'

410

attitudes

Ceylon,

p.

182.

and

SCULPTURE

ocxasioiially

gestures,
of

The

On

them.

identical

be

undertaken

in

art

on

In

and

ntunerous,

is

found

in

The

chief

the

early

of

the

Christian

powerful

most

of

the

works

impressive

of

between

apparently
Jam.

and

400

700

of

(stupa)
which,

finest

in

Buddha,
found

are

when

in
but
the

and

their

extended
flourished
southern
of

China
Farther

Burma,

to

with

are

local

India,

even

the

Its

most

date

Siam,

is

the

and

though

It

purely

are

Indian.

finest
is

is

also

some

in

century,
Indian
where
that
measure,

art

of

found

Cambodia,

likely

seen,

statues

Javanese.

Chinese

of

Statues

fourteenth

in

liefs
re-

the

among

subjects

is

great

narrative

rank

the

impulse,

is

influence

among

in

Java,

with

completely

its

was

relief

of

in

design,

variations.

received

first

which

Orient.

sculpture

again

the

rock-cut
one

Gandhara

disappeared

became

relief.

from

great

purely

Brahmanic

art

plants

Anarudhapura,

Pollanarua,

Their

no

these

existence.

also

in

technique

and

Java,

are

and

narrative
at

adorned

and

or

tinued
con-

Buddhas

no

are

the

sculpture.

little

Brahman-

therefore

a.d,

date

execution

which

island

has

way

Indian

Indian

art

of

of

in

Buddha

Java,

in

works

Buddhistic

uncertain

both

or

Boro-Budur,

At

into

animals

is

in

technical

Mohammedan

date

A.n.

tope

of

at

ment,
develop-

of

seated

The

sculpture

India.

Farther

real

art

Anaradhapura

at

sculpture

no

relapse

little

book.

Ceylon

and

era,

that
cannot

of

monuments

1100

Kapila,

sage

in

the

about

this

and

sculpture

where

capital,

with

no

is

means

similar

Indian

Buddhist

there

no

monuments

sculpture

but

temples,

of

was

Standing

remains

centuries

of

part

by

so

car\ings

scope

decorative

sculpture

deterioration

conquest.

undisturbe"l.

are

Ages,

with

there

Ceylon

exquisite.

though

times,

Middle

the

Moslem

no

modern

ornamental

outside

"

and

any

places,

elling
mod-

considerable

individual

whole,

purely

lie

Ceylon.
ism

the

the

The

India

In

in

as

but,

qualities.

and

The

Indian

of

qualities,

of

here.

continued,

has

times

discussion

detailed

frequently
works

even

their

411

EAST

expression.

is

mention

whole,

different

at

fadal

mediaeval

to

the

FAR

details

of

impossible

it

more

other

number

THE

by

even

and

hands

great

makes
of

IN

in

the

it
art

by
general

412

inspired

was

from

HISTORY

by

Indian

travelled

(206

-221

B.C.

colossal
but

in

Thibet

through

both

for

in

known

to

(often

sjinbolic

there

is

art

imported

century

They

a.d.

relief.

The

is

design

are

faults

many

results

of

probably
early

by
in

work
the

art,

other

at

mere

from

art

second
very

history
The
shows

be

carvings

been

have

end

the
are

represent

may

which

there

perhaps,

the

of

in

though

They
of

monimients

the

work

these

rate

form

province

discernible.

may,

any

the
the

to

the

and

artisans.

dhist
Bud-

Chinese

is

These

Chinese

Art.

Buddhist

and

of

in

primitive,

means

drawing.

decadence,
the

or

as

b.c-

and

engrave"l

from

natural,

(206

in

apparently'

carved

but
influence

a.d.

only

chiefly

influence

no

G7

first

forms

times,

djTiasty

taken

are

and

orderly,

method

early

in

shape

decoration.

Hellenistic

Han

is

B.C.)
the

animal

geometrical

belong

foreign

no

clear,
of

sureness

are

"

dynasty

in
or

these

at

lightly

subjects

and

legend,

which

Shang
(1122-255

human

to

though

sions.
dimen-

bronze,

porcelain

sometimes

grave-chambers

reliefs

are

the

intrcxiuced

train,
In

objects.

Shantung

and

its

of

the

was

in

came

small

and

few-

roads,

reliefs.

point.

under

Buddhism

of

date,

along

"

and

this

on

decoration

A.D.).

flat

certainty

no

in

appears

may

up

art

ivory,

with

belong

later

ferior
in-

dynasty

materials

vessels,

fantastic)

or

Han

set

of

part,

the

dynasty

adorned

jades

some

Chu

bronze

by

an

for

and

the

sometimes

Possibly

ture
sculp-

stone

most

of

animals

Sculpture

and

only

us

animals,

of

lacker,

round
"

B.C.)

reliefs

many

wood,

^rt.

Chinese

the

reliefs

of

however,

the

little

is, for

sculpture

jade,

work

(1766?-U22

221

men

employs,

Early

yet

and

Chinese

espedally

stone,

some

China

rock-cut

some

of

general
It

are

A.n,)i

figures

that

even

There

in

is

"

and

size,

large

quality.

an

that

art

There

Sculpture.

of

of

SCULPTURE

Gaiidhara.

Chinese

of

OF

of

the

lost,
Han

"

dynasty
A.D.)

(221
was

purely
about

45,000
been

a.d.)

Buddhist

destroyed.

the

to

the

end

middle

temples
Four

of

the

though

Buddhistic,
of
and
centuries

the

ninth

monasteries
later

Yuan

dynasty

Buddhbm
century
are

Buddhism

(1368
was

and
said

to

was,

scribed
pro-

about
have
how-

SCULPTURE

the

ever,

again

into

Chinese

subjects,
seen

art

Buddhism

of

hair,

China

is

i^factions,
Ill

northern

The

is

tjpe

other

Buddha

China

Japan.

regularly

Standing

chiefly

and
and

unicorns,

the

it
in

it

great

and

motion

height

the

under

men

reaction
of

I*o-tse,

rejection

of

Buddha.

art

an

Lao-tse

doubtless

the

was

conscious

Often

of

that

bearded
in

in

elements

some

bald-headed,

and

Confucianism,

or

of

from

date

Buddhism

against

Lao-tse

chief

is

the

ninth

to

as

The

religion

bull

god

of

the

to

the

or

velopment
deistic.
real-

more

represented

youthful
the

Lung-

le"i

and

is
on

ing,
strik-

the

and

art

the

greatest

the

century

national

riding

tury
cen-

The

to

Buddhist

regarded

its

of

the

freedom

century.

reversion

opposition

sixth

and

reliefs

the

He

ally
generIn

the

a.d.).

seventh

saint.

man,

was

reache"l

the

the

more

was

old

in

figures

powerful

dragons,

a.d.

in

(t"18-907

lions,

exaggeration.

but

It

which

to

art

technique

1"4).

also

are

lions,

century

of

in

of

subjects

fantastic

archaic,

dynasty

Honen

of

caves

(Fig.

Tang

and

animated,

little

Yin

"

excellence

passion,
com-

female

addition
the

fourth

of

Kwannon,

of

in

the

are

often

Kuan

In

Korea.

deity
is

Buddhist

the

by

still

was

work,

much

is

Dynasties.

attained

posture

there

the

the

Buddha,

Baetria,

round

but

and

beasts.

China

in

century

like

Sung

prevalent
fifth

the

fabulous

and

Tang

Buddha

yond
beThe

from

the

name

eral.
gen-

broad.

those

India,
the

nection
con-

elongated

and

Yin,

in

of

in

Afghanistan,

in

relief

is

short

sculpture

under

much
of

legends

elephants,

The

is

sculpture

Kuan

of

figures

There

clearer

in

male

so,

and

and

seated

originally

was

numerous.

are

the

forms,

from

A.sia,

Chinese

and

and

in

lenistic,
Hel-

Indian

it is

works

ture
sculp-

therefore
treatment

figure

as

The

Chinese

is

of

form

the

human

central

of

figures

who

in

of

and
It

draperies,

China

also

seen

human
divinities.

type,

with

came

and

motifs

various

human

the

southern

regions

chief

seated

China

in

in

there

the

was

of

compared

as

northern

nature

and

flow

definiteness

greater

which

Gandhara.

the

in

seen

Buddhism

northern

the

413

EAST

ornamental

and

the

from

is

as

With

Buddha

of

derived

is

of

important

figures

FAR

of

variety

great

THE

religion.

ruling

most

in

IN

as

stag,

figures

of

longevity.

414

HISTORY

this

At

well

as

This

historical

time
Lao-tse

kind

SCULPTURE

with

continued

sculpture

and

deified,

were

personages

represented

were

of

OF

the

the

thntugh

Sung

(960-1278

Yuan,

Tksing

dynasty

of

Thibetan

Buddhism

Chinese

Mongol

the

dvnastv

Ming

fine,

A.D.)
of

sculpture

materials,

\'arious

including

the

road

that

tomt)s

Ming

human

celain,
por-

and

produced,

was

and

led

ures
figThese

up.

and

nobility

at

but

grandeur,

are

execution.

to

colossal

animal

set

were

jejune

Sculpture,
in

e.speeially
Yin.

in

Under

(1368-1644

Kuan

fluences
in-

noticed

art.

aim

ian
Ind-

new

Persian
arc

the

the

at

some

and

along

its hosts

and

time

small

was

with

demons,

same

(1260-

the

A.D.)

introduced,

liM.

der
Un"

Tartar

Mongol

Yuan

of

and

Ming,

Dynasties.

the

form

also

exist.

to

The

Figure

though

sculpture

continued

1.3()8

as

dynasty

A.D.),

Buddhist

in

they

naturalism.

greatest

works

of

Chinese;

"

Late

i^ixth

Arts.

Seventh

Early

or

aboi-e

Stone:

Life

iSisee.

Century

Museum

of

small

Fine

ivory,

BosUin.

under
The

A.D.).
there
part

is
of

the

is

execution

little
the

originality
time

Thsing

Manchu

often

or

deterioration

real

dynasty

progress,
is

and

noticeable.

to

(1644-1912

detail,

in

exquisite

and

wood,

continued

porcelain,
flourish

of

dimensions,

bronze,

In

the
The

but
latter
best

SCULPTURE

1723

this

of

sculpture

IN

Iohr

period

(1736-1796

FAR

and

Korea.

entirely
in

appears

Thibet

In

sculpture

China,

The

eiong8te"l

and

known,

chiefly

and

Buddhist

of

China

sense

of

religiiyi

of

Buddhism

of

religion

Korean

perfected

works

of

Suiko

(593-628

a.o.),

animated,
at

and

for

the

centre

in

Japan.

Kyoto
ninth

works

considerable
of

The

by
century

the

capital

was

at

and

Kyoto

the

By

N"r"

province
and

Buddhism
and

(Mikado)

for
At

of

it

(7S2-S06
flourished

the

remarkably

artistic
until

the

a.d.

emperor
are

sculptors.

the

and

tion
introduc-

593

probably

are

intellectual,

Kuammu

emperor

Nfir"

which

the

images,

With

the

Korean

In

"

introduced,

was

of

period,

political,

for

before
a.d.

under

of

immense

IHsUiry.

triumphant.

some

the

sculpture.

naturalism,

place

552

expressive,

and

the

least,

in

created

are

through

wonderful

no

sculpture

sculpture

which

exhibit

sculpture

Korea,

definitively

was

of

in

values.

was

Japanese

from

attitude,

freedom

some

Japanese

there

Japan

known

and

Hellenistic

details,

Korean.

in

coiuiection,

decorative

tirely
en-

works

Chinese

(the

sculpture

of

of

Sculpture

nothing

Japanese

art.

derived

"frontal"

with

India,

execution

surpassing

is

and

of

the

their

clearlj'

bined,
com-

large

Kwannon

figures,

also

were

is

life

dominates,
pre-

was

The

great

Buddha

art

national

sculpture

strictly

are

Thibet.

two

Korea.

exhibit

The

size,

as

and

Buddha

from

China
the

a.d.

through

derived

Chinese

southern

Japanese

"

first

of

show

in

Early

part,

appears

which

works

diligence

the

sculpture

sculptures

art

small

new

century

gesture.

colossal

northern
of

figure

sculpture

was

It

exerted

most
al-

naturalism

The

Japan.
was

sixth

at

of

all

other

early

the

figures

Yin),

and

broad

China,

in

of

figure

the

Seulpture.

from

The

Long

derived

real

Lama.

influence

human

Korean

Japanese

Grand

studied

some

before-

and

though

hest

though

but

of

Kin

is

that

except

art,

the

of

portraits

from

pose

Gandhara

from

the

is perhaps

Korea

Kuan

(1662-

and

a.d.),

"

are

Khang-Hi

A.D.).

Thibet

of

415

EAST

under

was

(1723-1736

Yung-Ching

A.D.),

THE

the

most

this

time,

Yamato

was

development
moved

was

a.d.).
side

orous,
vig-

by

In
side.

to

the
At

416

HISTORY

this

time

families
for

and

several
with

struggling

were

the

for

OF

supreme

SCULPTURE

centuries

thereafter

each

and

The

power.

other

the

with

Minamoto

the

great

Mikado
first

opposed

were
^

the

by
of

and

Taira

the

Shogun

chief

Tokagfiwa

century

Ninth

Indian

national
and

The

period.

Statues

colossal
if
fine

in

of

fn)m

epoch,
was

frequently

of

the

ninth

models

seen

and

however;
rather

that
than

at

led

this

to

apparently,
unable

were

produced

of

to

works

of

time

to

their

very

indeed
the

chief

part
of

art

Chinese
own

merit.
at

the
The

art.

their

high

to

technique
early

of

copy

restrain

and
was

fine
the

revival

was

second

capital

Chinese

the

inant.
dom-

time

the

In

"

sculpture,

still

The

though

is

is native

this

749).

the

There

was

of

of

but

739,

which

time.

study

centurj)

wished,
but

this

ably
remark-

later.

removal
in art,

of

renewed

(eighth

exactly,

painting,

works

(d.

the

of decadence
in

century

artists

ability,

until

749

is

in

cast

sculptors

The
which

N"r",

height,

influence

Bosatsu

and

amusing.
at

colossus

foreign

Gyoji

and

years

this

of

noted

most

period

dynasty

Japanese

dignified

energetic

were

was

thousand

stjle
the

the

It

figure.

of

brilliant

were

in

feet

the

themselves

was

Buddha

140

early
of

liveliness

Kwannon

realistic

nearly

the

priest

is

true,

be

Evidently

Korean

Tang

the

-seventh

that

make

to

deities

of

the

at

(708-749)

and

about

nothing

Kyoto,

the

of

qualities

study,

epoch

statue

in

the

begin

"

statuettes

dignified

One

Nfirfi

court

were

even

and

guardian

bronze

restored

Japanese.

the

clay

and

form

Buddha
of

standing,

though

appears

"

of

of

seated

was

Shoguns

anatomical

Narfi

figures

small

frightful,

or

his

obtained

Sculpture

"

Korean,

art

first

serious,

little

Century.

correctness

evident.

head

the

The

had

theAshikaga

1867

to

influence

Japanese

would,

1603

as

and

power,

Kamakfira.

at

a.d.

of

Mikado

temporal

sovereign,

family

essentially

was
some

and

from

Epoch.

pose,

1184

Yoritomo,

the

family.

Ndr"

date

recognized

nominal

the

1334

and

power,

in

capital

In

Finally
by

independent

merely

now

Kyoto.

Ffljiwftra.

was

with

his

Mikado,

the

by

family,

(Tycoon),

established

at

then

Minamoto

all times

Jinuiese

inal
origIt

is
"

art.

418

of

size

small

is

also

realism.

pure

the

most

part

erected
the

by

Nikko

at

and

remarkable
the

On

exterior

industrial

of

small

the

the

keen

to

The

work

known,

and

seventeenth
of

elder,
who

otoshi,

early

the

lived

nineteenth

to

Eastern

and

art

the

latter

-4ri.

kind

sixteenth
of

part

latter

of

art

influence

the

Miwa

and

century,

Tadof

part

affected,

greatly

the

The

their

this

centuries,

the

was

by

improvement,

Western

In

later.

truth

of

of

the

the

industry,

in

eighteenth

Japanese

its

and

artists

eighteenth

the

the

somewhat

century

altogether

of

side
alongof

Many

Kinai,

Yeiyiu

of

centuries

unwearied

of

of

richly

are

imagination

them

part

middle

Japanese

workmanship

number

among

of

important,

training,

and

Tomoj'oshi

century,

the

of

Nagasaki,

works,

wood.

sympathetic

names

are

delicate

gods.
Kyoto.

at

seen

eighteenth

in

struction
con-

and

scenes

more

1616)

richness

at

Zengoro's

work

careful

and

be

to

and

of

the

surpassing

Kiushu,
as

temple

of

animals,

is

became

marvels

are

observation,

makers.

as

of

of
for

(d,

marvel

Matsunomori,

by
well

decorative

life, testifying

to

reliefs

dimensions

great

bronzes

of

Tlie

Yeyes

is

plants,

seventeenth

small

of

sculpture

temple

These,

In

c-olored.

the

Shogun

Zengoro

were

not
was

activity.

reliefs

trees,

sixteenth

portraiture,

Zengoro

with

by

of

life.

the

sculptor

work

of

slabs

thirty

are

of

dragons,

"

the
statues

(1603-1867)

artistic

general

adorned

In

idealistic

period

memory

and

wood,

delicacy

Other

of

in

architect
in

many

Tokugira

time

time.
memorial

of

examples

The

this

at

centuries

generally

erected,

SCULPTURE

OF

noticeable

seventeenth

and

of

HISTORY

the
not

Europe.
Greek

of

is

art

"

in

seen

the

of

is, in

Japan
the

known

sculpture

of

countries

But

earliest

the

art

the
a

Far

spirit of
of

sculpture

the

India,

fantastic,
human

spirit
Runipc.

which

the
East

China,

not

and

and

spirit

of

itself

the
from

even

and

the

spirit

in

at

the

East,

not

same

the

beginning

and

Greek

art.

the

and

the

plative,
contem-

often

time

tensely
in-

scientific

more

in

other

China

Greece,

breathes

Japan

the

of

India

the

to

of

descendant

distant

dreamy,

shows

sculpture

So

is

India,

Buddhism,

with

East.

sense,

oF

sculptures

spread,

from

the

art

of

BIBLIOGRAPHY

Some

of

sculpture
brief

the

manual

is

wiah

Institute,

American
ttl

of

excavations

Much
found

are

and

"Maltres

soies

of

de

I'Art,"

Ameriam

Journal

deW

ilorico
dee

Gaaette

Beaux-Art*

Jahrbuek

ner

der
Revue

iogique;

de

ports
re-

ture.
sculp-

of

sculpture

to

"Berfihmte
and

Arehi-

Arthaeoiofia;

fiurfi'nfton

Magaane;

fiir Kunetinitentchaft

Kimst;

I'Art

student

relating

d'Arte;

MimaUh^te

museums

the

the

and

c^l^bres,"

"^ Archaeoloffy

biideaden

which
in

annually

"Kiinstlermonographien,"

Bo"ettino

Arte;

of

d'Art

tive
exhaus-

an

Works

"

vio

is

art.

on

General

Periodicals.

to

Orien-

Oriental

bibliography

published

illustrations
Villes

"Les

books

popular

is

the

the

art;
ancient

on

and

important

many

of

Koman

works

Catalogues

very

below

Archaeological

Kunttvnttemchaft

times

often

volumes

and

this

of

Bibliographical

mentioned
German

of

general

Archaeoloffy.

information

the

in

der
in

art

modern

are

Kunstst"tten,"
other

of

encept

Joamai

the

titles

Bibliographie

periods

by

cf

subject

readers

further.

books

the

on

the

aiding

the

Greek

the

gives

bibliography

all

covers

of

bibliography

Intemationale

annual

many

of

studies

of

published

tAkratuneitang

the

in

books

hope

their

pursue

Aiaeiger,

contains

taliititehe

to

accesuble

the

in

contained

ArckSologiKher

art

mentioned

who

information

and

important

more

here

are

aaeixn

modeme;

et

Revue

d'Arte;

Ratergna

Zeiteehrift

MiinehArekto-

fiir

bUdende

KunM.

D'Agincourt,
E,

teure,
A.
J.

F,

M.

C.

J.

and

Cicognara.

Storia

Dehio

Winter,
of

Encyclopaedia
distinguished

delta

the

di

art

all

Britannica,

Art*.
ed.

English

ages,
s.v.

-peirUret,

deteinO'

progress),

1914.

1908).

Kumtuditeiueht^t

(an

illustrated

begun).
delia

in

grouped

419

{2d

Bildem

Sculpture,

sculptors.

1884.

ScuUura.

1823-1825

Kuruljeschichle

1823.

plates),

Allied

only

Storia

ScuUura,

of

der

yet

as

(in

"

the

(last

Manuale

de"

1911

HaTtdbuch

volumes,

Cavallucci,

and

and

325

dtxrumenlaire

et

eculpteurt

Cicerone

others,
14

with

(six volumes,

critique
.

The

in

t'Ari

ArckiUcture

Burekhajrft,

work

et

graveure

Brooks,

Burger

de

Hiebrire
Dictionnaire

Bfn^t.

ed.).
(a

on

great

folio

also

number

of

trations
illus-

pages).
under

the

names

of

420

HISTORY

E.

Faure,

G.

F.

Om

B.C.

VArt.

the

HtufUrpieixg

Time

Higtory

SCULPTURE

1909-.

Hundred
to

Liibke,

W.

de

Ilistmre

Hill.

OF

of Sculpture,

of Michelangelo,

editions

(several

of Sculpture

the

from

Siitk

tury
Cen-

1909.
eidat

in

German

and

English).
and

Marquand
Monumenls

Piot;
about

Nagler,
K.

Heinach,

Apollo,

the

2d

L.

Sybel,

von

K.

der

Antike

bit

yet

completed).

Manual

der

bei

der

und

Encyclopaedia
and

(a

H.

Staluaria.

Luer,

Technik

IV,
E.

in

Pernice,
VII,

Albert

iter

1911-.
2d

in

der
ed.

154

pp.

Those
kaiterlieh

new

also

dea

dri

and

SciJplure,

lOtti,

periods.

KUnMe

des

ronainet,

et

grecquet

Kunstgewerbes,

Arvhiiologitehen
(T,

51

pp.

Sculpture

under

General

lllstoire

Chipiez,

publications,

Jahrbueh

Jahreahffte

MonumejUi
annual

dea

Anitcki

or

irregular,

of

societies.

(Egj'pt.
Asia

IT.

212

pp.

also

Works,
InatituU;

Inatilutea;

an"l

Irutilutet,

1908,

General

in

arfkdologiachen

Lincei)

XI.

1911.

arrhaologiachen

learned

Sardinia.

ttnd

Metat-workiny.

aniiquilta

Oetterreirhlachen

VIII.

mentioned

d"

(Accademia

and

not

preparation.

a.\.

(Monographien

ff.;

deulachen

oeaterreichiachen

1914

ton

volumes,

many

Getcerbe

in

"

Perrot

1903.
KUnttier

Methoih

Scidpture,

BnmzeplastHc

Modelling

Periodicals.

many

ed.,

bildenden

work

Trrminologie

DiHionnaire

Ancient

dea

throughout

1900-1911.

18^7,
s.v.

Jahreahefle

19(M,

Toft,

Art

ff.).

19

pp.

Beaux-

IS55-1879.

ed.,

der

great

and

and

Saglio,

s.v.

dea

of

AUertum,

im

KunM,

homera,

Britannica.

Daremberg

Hi^ory

ed.

I^xikon

Gegenwart

iur

Technologie

Grieehen

2d

9th

Kurat

AUgemeinet

GexhichU

Bliimner,

appearing

uninermlle

the

of

Kunste,

Materials

H.

illustrations,

Vhintoire

Kundgeachichte,

Becker,

der

de

bUdenden

der

Woermann,

ments
(Monu-

1910.

Wetigetchickle

and

fine

1896.

Intcriptioru

1910.

Illustrated

an

ed.,

Geschwhte

Thieme

of Srulplure,

ile*

with

rliTorwiagi^ue

Handbuch

Springer,

volumes

about

nodate;

Schnaase,

History

Kiitutlrrleiicon.

Ripertoire

Aget.

the

of
I'Aradimie

par

year).

AUgeneinet

^ri".
S.

pubHees

expensive

once

Peyre,

Text-book

Frothingham,
mhrnnre*

el

de

Babylonia,
Minor.
great

Persia,

storehouse

I'Art

dan"

AssjTia,
Greece
of

I'Aniiquite,

Vols.

Phoenicia.

Cyprus,

in

the

information,

prehellenic
with

many

I-X,

1882-

Judaea.
and

arehaic
illustra-

421

BIBLIOGRAPHY

tions.

Vols.

titles

1-V

Assyria,

of

the

de

is

AwUrU

deuUchen
the
F.

W.

L.

J.

Catalogue

in

work
G.

series),

The

illustrations

de

und

Xubie;

la

(Histoire

of

stiQ

landei;

Art

in

I'M'i

(150

de

plates,

('aire

{a

great

I^psius,

("Ars

Sct'LITURE

Zeitm^hrift

der

Zeitxhrift

de

Egitto

delta

dcidtchen

fiir

die

publications

Prisse

DrnlcTftaleT

Monument*

Egypt
1913.

works

early

deW

Atayrtologie

in

Egypt,

A""!4YRIAN

and

fur

Kairo,

z"

VII),

several

monumenli

Wieaer

.Ir*

TArl,

igyptienne;

and

du

1!)02;

de

Champollion,

?i'abien;

Zeiteckrift

ed..

in

I'art

Hossellini,

Miuieitm

miuh

Anrirnt

valuable

(iemllechaft;

ditckca

of

authors).

Egypte

Mitteilungen

"

du

different
5th

BaBVLOMAN

Periodicals.

der

Ileports

1906.

Archaeology,

HiMoire

Aegyplen

and

Sridjitur,

egyptiennea

Hiftory
are

d'Avennes'

philolngie

MitU'dimgrn

Memoirs

Aegy^'iKhcn

Egypt,

by

l!)12;

('hipiex,

and

la

text).

aaiiquith

Egyiitian

Una"

Perrot

in

volumes

many

Maspero,

letin
Bul-

Archaeology:

rtlatifn

nmigrirnnfii;

et

dem

aia

brief

Art

det

glafral

Egyiitinn
tramiLC

Argtjylurher

with

PrimitiK

Capart,

dr

text).

(.tO plates,

1912

The

Fund.

KnnMieerke

Borehardt,

mii7ud"4

GetelUchafl;

Denkmalcr

explanatory

igyptienne"

Exploration

Bissing,

von

with

and

English.

bad).

very

Heriteil

MorgenliifuUehen

Egypt

in

two

separat"

Chaldaea

above.

The

egyplien;

I'archeoloffie

rf

I'liulUiit

in

SCULITUBE

Egnfd;

"

Art

forming

mentioned

EoYPTIAN

de

of

1884.

arUu/uc,

Works

under

English

History

volume

and

IV
VArt

General

Periodicals.

into

Egypt,

French

vols.

MonumenU

also

Sec

in

"

translation

Hayet,

Art

each

etc.

translated

are

of

History

"

am

I'Egyple
Nubia.

Morgetdan-

Kunde

df*

Morgen-

of

various

tal
Orien-

Societies.
E.

P.

P,

R.

W.

Un

King,

Koldewey,

chaldeen,

History
Dot

Meissner,
alte

A.

Finches,

at

frrundziige

new

Archaeology,

e"l.. J906.
1912.

1900.
and

Sumer

Alcad,

erstehende

Babylon."
der

1910.

Babylon,

1913

(trans.

"The

man
Ger-

1914).
Plaftit,

babyloniech-asxyriechen

1915

("Der

Orient").

Pat"rson,

Perrot

of

vneder

Excavations
B.

AnHquiiien.

Meeopotamian

palait
A

Oriental

of

Handcock,

Heuzey,
L.

Manual

Babelon,
S.

and

Attyrian
Chipiez,

The

Gales

Sculpture*.
Uietory

of Balawat,

of

Art
1880.

The
in

Palace
Chaldaea

of Sennacherib,
and

Attyria.

1912.

et

422

De

DkoureiUs

Sarzec.
iUustnited

Relatively

which

and

Citiea;

The

Garstang,

HuiDSnn
L.

and

Land

Messerschmidt.

O.

and

Puchstein

and

others,

GeseUschaft),
\V.

L.

VI.

of

the

Noldeke,

otliers

Darius

of

de

anitifue

and

King

Siui-

qf

Ducoveriet.

Assyrian

wtd

alte

Nord-S)frien,
1903

Orient").

Report

Art

o}

Boghaz

Empire

L'art

tiaru

Smith,

and

DiacocerUt

the

of

1890.
'"ITje

(trans.

Smithsonian

tution,
Insti-

Hittites").
in

Sardinia,

Die

Keui,

Judaea,

and

Syria,

Bauieerke

(Deutsche

Aria

Orient-

Great

die

PerteptAis,

la

Peree,

1886.

The

Rock

of

ochaemeniKhen

Sculpture*

BehiMvn

und

de

L'acropoU

1884-1889;

Museum),
the

on

ed.,

Sculptl-re

(British

the

2d

HiOiiet,

Persian

Dieulafoy,

Recent

are

1912.

The

Wright,

Ckaidaea

in

Kletnarien

Annual

Ancient

Hittory

profit
Monumenit

1910.

in

("Der

the

in

"The

Chipiez,

HUtUes,

HittUer

1903;

1903,

richly

Sculpture

Reiaen

Die

Hittites,"

Perrot

the

of

Puchstein,

with

Layard,

Raasara,

(reorge

HiTTiTE

J.

and

consulted

Ninive;

Retearchet

I'Aeeyrie;

rl

be

de

Travds

Ninive

BabyUmiaa

Aitcient

elatxM-ate

(an

still

may

Monumttttt

Ixrftus,

Place,

1884-

discoveries).

Flandin,

Nineteh;

ana;

SCULPTURE

Chaldit,

en

books

and

OF

of

account

early

Botta

oj

HISTORY

in

and

Infcrip-

Perna,

stueaniditchen

Suse,

1907.

DenkmSier,

1882.

M.

L.

Texier,

Pillet.

Dariiu,

I'Arminie,

de

de

paiaig
de

Description

1914.

Svte,

la

Perse

etdela

Mesopolamie,

1842-

1852.

Phoenician

Perrot
J.

and

L.

Chipiez,

L.

and

Myres

Art

"^
of

the

Sculpture

and

Phoenicia

in

Cesnola

CoOection

Cyprus.
of

Anliqiiiii"t

from

1915.

Cyprus,
J.

History

Handbook

Myres,

Cypriote

and

M.Ohnefalsch-Richter.C'ntaioffiwo/iAeCjpruaAfuwum,

1899.

Greek

(Works
P.

treating
and

Amdt

Sculpturen
and

of

W.
nat:h

catalogue

Greek

Roman

and

and

Amelung.
Aiunrakl

containing

Sculpture

Roman

art,

Photographische
und

mil

Text,

discussions).

not

exclusively

Eiiaelaufnahmen
1893-1913

ot

either).
antHer

(photographs

423

BIBLIOGRAPHY

de"

DmlcmOkr

Baumebter,

khunachen

(large

photographic

which

AUeHuim,

DenJcmdler

Bruim-Bruckmann-Amdt,

plates

with

begins

pi.

griechucher
in

the

second

1885-1888.

romitcher

series,

Sculptur
in

now

discussions

elaborate

501,

vols.,

3
vnd

progress,
the

accompany

plates).
Grieehiiehe

Brunn-Bnickmann-Arodt,
of

plates,

similar

etc.,

the

to

vttd

rdmitehe

DenkmSUr

PorirSU

aeries

(a

iind

gritehucher

romiKher

Scvlptur),
and

Daremberg
(in
R.

Dclbriick,

A.

Furtwangler,

S.

Lami,
notre

Porirm*.

det

antiquitia

grecque*

de

I'antupiiU

jtiaqti'au

romaintt

tt

aculjiteun

da

VI'

fUde

1884.

Handbook

ColiectUm

Greek

of

and

qf Reprodutiions

Roman

Sculpture

Greek

(^

descriptions

with

catalogue,

(a

1912.
1896.

InUrmeza,

in,

Mach,

V.

and

and

Homan

to

accompany

Sculpture,

discussions,

1006

accompanying

illustrations).

500
S.

Antike

Itictionjiaire

At

E.

Dtctionnaire

Saglio,

progress).

Reinach,

of

de

RtperUnre
de

Repertoire
small

rdUfa
of

cuts

la

etaiuaire

greet

and

statues

reliefs

Tomaine,

et

grecque

romainei,

et

1900-1912

1897-1910;
numbers

(great
with

respectively,

cal
bibliographi-

notes).
Roscber.

Autfiikrliehet

Lexikon

(in

contains

logie
Smith,

progress;

DuUonary

Wissowa

KroU,

useful

Reat-ErurychpSdie

Periodicals.

Those

dictionaries

in

Sculpture

General,

Hellenic

qf

arrhaologiKhen

J.

The

Baikie,

R.

Dyssaud,
2d

Egfe,
A.

J.

A.

Frickenhaus
K.

d.

H.

R.

A.

Mosso,

Perrot

Tsountas

cf

citUiaaliona

ed.,

tOU.
.Vtw

and

Aegean
The

Davm

Chipiez,
and

Manatt,

Crete,

Periadt.
rirytu.

Die
in

The

dea

Ancient

hellfnique;

kaiterlich
Rerue

deuUehen
des

(tudrn

Athens.

at

dan"

le

battin

de

I'nrI

Athen,

Avtgrabungrndet

1912.

Mycenaean

Civilizalion,
dam

la

nier

1914.

Ergebnttteder

1915.

Mediterranean
de

and

1913.

IrutUuU

Hiitoire

Works

AbteUung;

jirfhelUniquet

Archaeology,
of

exist.

eorretpondance

MitteUungen

School

Minoan

others,

ArchSologitchen

Hall,

and

Sea-Kingt

de

Athenitche

BritUh

Let

The

Evans,

the

antiquities

General

Bulletin

Sludiet;

qf

uf

under

also

Irutitutg,

Annual

greet;

Alter-

cUi""i"fhen

SrrLPruBE

mentionetl

"

der

progress).

illustrated

Greek

Journal

Mytho-

romiarhm

illustrations).

many

Paidy'a
(in

lumamtterucHafl
other

und

grirckiwhen

q/' AnlitpiitUi.

and

Several

der

I'antiquitf,
Age,

2d

ed.,

1911.
Vol.
1914.

V.

"

424

M.

Hittoire

Collipion,

A.

dt

rfojw

funiraiTet
Die

Conze,

OF

HISTORY

la

I'art

SCULPTURE

teidpluTe
1913

gree,

Grabrdiefs

attiaehen

1892-1897

grrcqiu,

Parthenon,

Le

(a

publication

great

La

tUOvet

1914.
not

fully

yet

completed).
and

Fowler

Furtwangler,

F..

A.

Handbook

Tke

HeUaa,
H.

of

R.

Kekule

H.

Lechat,

Murray,

J.

Overbeck,

from

Pa"aages

TomtiM

Sculptured

1914;

qf

1883.
Wriiert

Ancient

iUuttratire

the

of

1895.
lea

entre

greeque:

Die
de

mv"le

Lermann,

A.

Art,

Coiru.

Sculpture.

StradonitJ!,

Au

\jocv/y

Six

1910;

ed.,

mfdiquee

guerrea

I'fpoqae

el

"U

1901.
v.

E.

Greek

of

teutpiure

PtricUt,

W.

Select
Greek

La

Joubin,

1909.

1895.
revised

Scjiipture,

Greek

(^

Type)

Jones,

Hittory
A.

PnnripUt

1896

Stuart

Greek

Sculpture,

1911.

Sculptors,

(Jardner.

Greek

qf
of

Archaeotogy,

Greek

qf

Matterpieeet

GuTdmT,
Greek

P.

Handbook

Wheeler,

A.

1907.

1907.
1911.

Plaetik,

griechieche

ed.,

1903.

d'Athinee,

PUutik,

Altgriechische
Die

2d

Skulptur.

grieehitche

I'acropole

The

KUnete
4th
Perrot
R.
H.

bd

ed.,
and

B.

Smdpturei
Die
den

the

(^

anlHten
Griechen,

Schrader.

de

History

A
Arrhaiache

der

der

biUUndtn

gnechiachen

Ploitik,

I'art

dawi

Greek

qf

^'ols.

t'atUiquilf,

Sculpture,
ivi

Mnrviorakidpturen

\'I-X.

1910.

Akropalismuteum

xu

1909.

H.

Smith,

H.

B.

Walters,

The

Scidptures
The

Art

of

the

L'art

Martha,

information

archaeological

ronr^rning
periodicals,

mentione^l

Those

Archeologie

Etruscan

be

must

and

museums,

romaine,

ft

Hruaque

sculpture
of

catalogues

Roman

Periodicals.

1910.

1906.

Sculpture

1899;

etniaque,

Parthenon,

Greeks,

the

of

ETnuscAN

Special

Geichiehle

Oeachiehle

1868;

Histolre

Chipiez,

Richardson.

A.

in

1903.
zur

1893-1894.

Athen,

J.

Parthenon,

Schriftquelleti

the

no

sought

like.

ScrLPniRK

under

Works

(Jeneral

and

Ancient

"

Sculpture

di

eomunale
kaiterlieh
Notizie

Altmann,
C.

in

Die

Cichorius,

Roma;

deulsrhrn

drgli

Sr-ari

riimischen
Die

also

(ienertil,

Journal

BuUeUino

of

della

di

Aniirhitii;

Graballfire

Trajansaaule,

Sliidiea;

Roman

arehSologitrhrn

der
1S96-190U.

rommistione

Imtilufs.

Pnpem

Kaiaervit,

of

archrologita
Mitteilungen

romische
the

1905.

Briii"h

des

AUeilting;
School

in

426

W.
P.
M.

II

Ricci,

A.

Venturi,
G.

Max

(fuOTRO

in

Ah

di

Periodicals

and

Sctdplon,

Bourga,
L.

Gonse,

L.

Hourtieq.

A.

Humbert,

E.

Mftle.

Ptaelik

in

du

Am

E.

XIII'

Lee

teulptiire

de

la

ealhidrale

de

leu

diics

de

series).

Bourgogne

Centurn,

l.'art

1913.

(136!-liSS),

Thirteenih

Franee)

en

1895.

Jrangaige,

Una"

""Ars

Franee;

si^rfe

{Vari

1914

religieux

de

la

fin

of ChaHree

Sculplaret
vol.

I'art,

tcidpteur*

Cathedral,

1910.

II.
du

franfais

XIII'

*t'frfe

("Maitres

de

I'art"

1912.

Mediaeval

Periodicals

and

Bode,

General

Geitrhirfile

and

Sculpture

Works
der

188A-1887.

Ploftik,

Die

Germany

in

above.

as

deuUchen

Bezc^d,

von

DenkmaUr

deuUchen

der

BUdhauerkunM,

i9av.

G.

Delahache,

La

raihfdrale

P.

Hartmann.

Die

goUxrhe

F.

Liibbecke,

Michel.

Die

HiHoire

de

I'art,

Sauerlandt.

Deutsche

A.

Schmarsow

and

nerei

dee

M.

vol.

E.

Art

de
in

1910.
in

Plaetik,

Sehw"d)en,

de"

MittelaUers,

3d

MeiMerwerke

ed..

1911.

der

deutxhen

1910-.

vol.

Flandere,

1910.

1910.

II.

Sculptube

I'art.

Stratbourg.

Flottwell.

v.

MilfeUdten,

IliMmre

Rooses,

Kiilner

Plwnik

Mediaeval

Michel,

de

MonumtaUd-PUulik

gotische

M.

du

1908.

The

Marriage.

I^llion,

Dehio

occideniaU

mna

in

France,

de

/"i
1911

Art

en

Hietoire

aeries).

W.

France

in

facade

1890;

Framv,

sculpture

La

rriigieujc

L.

gdkique,

Art

Relifioue

and

1897.

above.

aa

la

de

Mittdaiier,

im

1913.

moyea

M.

aeries).
III.

II,

!911.

Works

eculpfuree

L'txrl

Mirfiel,

I,

Sculpture

General

Les

Boinet,

vols.

Oberiialienuehe

Zimmermann,

Una"

("Ars

1911

iialiana,

arte

MEDIAEVAL

A.

1913.
1914.

Italy,

dell'

Italian

Wetera,

1911.

Onieio,

Northern

Storia

SCULPTURE

ttnftienne,

sadpture

I/i

Mattioni,

OF

Pladik,

Tialienueke

Bode,
Bouchaud,

C.

W.

HISTORY

in

the

Netherlands

II.
1914

("Ars

Una"

series).

BUd-

BIBLIOGRAPHY

Mediaeval

FeriodicaJs
W.

and

Sculpture

Works

General
Art

Armstrong,

in

above.

as

Great

England

in

Ireland,

Britain

and

de

vols.

1909

Una"

("Ars

series),
C.

Enlart,

E.

S.

in

Gardner,

A.

inEn^nd,
L.

Hi^oire

Michel,

and

Prior

Accoanl

MemoriaU

and

and

Periodicals

A.

F.

M.

General

in

Araujo
L^art,
dea

in

Arl

Matuaire

P.

Works

in

Scalplurr

IHeuWoy,

F.

de

Hittoire

MiSnti,

(chiefly
Scott

or

'~

(Mrs.

Works

Beaume,
Bertaux,

Donatello

Bode,

lUdi^iKhe

MtiM,

2ded.,

H.

Brockhaus,

J.

Burckhardt,

ed.,

Renaistance,

vol^.,

and

Renaistanre

Renaibsance

the

d'art"),

PUutHc.

1911

Italy

in

1910.

Florentiner

BUdhauer

der

lienaie-

5th

English

("Kiinstlermonographien").

1912

Bernini,

iculpture

tinftienne,
und

CirUization

Cellini,

FVeeman,

1886.

Modern,

!910.

The

FociUon,

1889-1895

1912.

("Maltres

Michelangelo

Desjardins.

F.

mentioned.

la

pendant

General

above.

Ange,

La

CrutweU,

L.

I'enseignement

1913.

die

M^ici'Kapdle,

the

of

Benaiteance

1912.
in

Italy,

1904.

Benvenulo

H.

de

in

already

of

Ijorenzo

Boehm,

Bouchaud,

Renaissance

Smdpture,

mentioned

E.

J.

18S.'i.

art).

Baxter},

G.

_M.

Eapana,

en

(Biblioth^ue

1909

the

t'art

de

Italian

on

Michel

P.

escuUjim

Works

General

Sculpture

V.

series);

1908.

Eapagne,
la

Una"

("Ars

1913

Beaux-Aiis).

E.

M.

Poriugal.

trijptiire e"pagnoU,

la

and

W.

1912.

and
rn

II.

vd.

I'art,

Spain,

Hittoria

Gomez,

Periodicals

Genera]

de

potyrhronif

Spain

in

above.

as

Spain

Sculpture

L.

FigureSetdpfure

1915.

Sculpture

llietmre

Michel,

Calvert,

IjO

Medieval

of

Monuments,

Mediaeval

Bertaux,

III.

II,

1912.

Weaver,

E.

Vari,

An

AulainogTaphy.

Donatello,
La

me

Bentenuto
Italian

1911.
et

I'avwe

Cellini,

Scatptort

de

Jean

1912

of

Bologne.
("Les

the

grands

Renaie"anee,

1883.

artistes").
1902.

428

K.
R.

Michael

Gower,

S.

E.

Hildebrandt,

C.

Holroyd,

A.

Marquand,

E.

Molinier,

R.

Norton,

M.
C.

Delia

and

Reymond,

Le

Bernin

Ricci,

in

Art

C.
J.

Riegl,

Strutt,

Michael

Italy,

in

Thode,

H.

Storia

The

Wolfflin,

Works
E.

Lady

of

Robbia,

1914.

Rom,

Baroque

1911;

Michel-Ange,
jjorenzo

1902.

Bernini,

1912;

1908.

3d

das

The

Renaissance

1913.

Ende

iiber

der
vols.

Renaissance,

seine

Werke,

1903-1912.

(in progress),

IV-

1911.

Italian

of

ed., 1899

Untersuchun^en

italiana,

the

Renaissance,

Renaissance

the

(also

1903

1913).

France

in

mentioned.

already

Architects

French

Dilke,

ed.,

Scidptors,

AH

series),

1912;
Giovanni

in

last

arte

Sculpture

General

des

kriiische
und

delV

della

1903.

Arts,

Italian

Waters,

G.

Fine

1-.

1911.

Una"

Italy,

Vita

Barockkunst

Michelangelo

Venturi,

W.

("Ars

in

Tart"),

Life of Michelangelo,

The

191

1914.

Italy

Michelangelo,

1913
A.

Studies,
de

Angela,
The

Symonds,

Luca

Werke,

V.

IV,

("Maftres

Sculpture

der

1912;

seine

1894.

Baldinucci's

FUippo
Entstehung

H.

Ill,

Other

Northern
and

Die

A,

America,

in

Cellini,

Bernini

und

1913.

vols.

Vari,

Benvenuto

Ijeben

1903.

Robbiae

de

sein

1903.

Michelangelo,

Architecture
A.

Angela,

Michelangelo,

Hidoire

Michel,

SCULPTURE

Btumarroli,

MichdangioU)

Frey,

OF

HISTORY

and

Scidptors

of

the

Eighteenth

Century,

1900.
L.

Gonse,

L.

Hourticq,

sculpture

La

Art

in

Jouin,

Antoine

Lami,

Dictionruiire
de

XV

Michel,

H.

Hisioire

Thirion,

de

The

in

Sculpture
J.

Baum,

P.

Clemen,

B.

Daun,

C.

Headlam,

L.

R^au,

G,

Seeger,

on

Die
Adam

du

vioycn

XIV

Louis

Germany

mentioned

sculpture

1500,

under

und

die

1911.

westfalische

1897.

Uistoire

Vischer

progress).

in

der

1901.
de

Vart,

Aeltere,

vol.
1898.

V.

Kuntt,

1903.

an

au

V.

Renaissance

torn

Vischer,

Michel,

age
;

1885.

German

Plastik

Krafft,

Peter

Ill, IV,

the

rheinische

Peter
in

(in

de

Germany.

Ulmer

Die

1906.

frangaise

regne

sidcle

XIX^

Clodion,

et

of

Works

General

le

vols.

Vart,

Sculpture

Goujon,
VScole

1894.

1911.

Adam

Les

de

siecle,

series),

Jean

sous

au
.

siMe;

IIP

Una"

sculpteurs

XIV

Louis

1883

des

XIV

le

depuis

("Ars

Coysevox,

H.
S.

regne

France

en

France

Mediaeval

429

BIBLIOGRAPHY

Tilmann

E.

Tonnies,

F.

Wanderer,

Riemeruchneider,

Adam

Sculpture
J.

artistes
J.

La

Helbig,
Rooses,

H.

Rousseau,

P.

in

Vitry,

La

P.

W.

Encyclopaedia
L.

Art

in

Sculpture
General

The

Works
in

Sculpture
E.
J.
O.

in

Bertaux,

Agapito

L.

C"llari,
G.

deW

arte

Rodin,

Dalou,

Eaton,

L.

de

E.

Guillaume,

C.

H.

Hart

E.

in

Italy

1909.

France

contemporains,

("Little

1912

Vanivre

of

Francois

Francis
and

IV,

et

Books

Vhomme,

on

1908.

scidpture (Rodin

en

1901.

Art").

and

Meunier),

1903.

Handbook

Fourcaud,

Mediaeval

1902.

Vimpressionisme

Dreyfous.

under

italiana,

Sculpture

Rodin,

Auguste

in

contemporanea

sculpteurs fraw^is

C.

mentioned

1898.

Falguihe,

D.

Spain

in

1913.

Sculpture

Al

M.

series), 1909.

1913.

Les

De

England

V.

Vart, vol.

de

B6n6dite,

Claris,

II, 1914.

1915.

Berruguete,

B6n^ite,

Cladel,

Una"

sculpture

L.

E.

1911.

Sndpture.

G.

J.

I, 1911,

in

("Ars

Madrid,

en

Canova,

aolkowska,

si^des,

Niederlande,

Renaissance

Histoire
Alonso

Modern

M.

"Grands

Spain.

Storia

Meyer,

XVII

et

Vart, vol.

the

Modern

A.

des

V.

Renaissance

Spanish

Michel,

EscuUura

Fatigati,

IP

vol.

Monum^ntSf

of

on

Revilla,

der

article

and

1890.

series), 1914.

Vart,

de

Britannica,

Liige,

XV

England

Histoire

Memorials

Weaver,

(collection

1909

Una"

aux

the

of

Michel,

in

de

Holzskulptur

Annstrong,

Biver,

("Ars

Higtoire

Sculpture
Sir

de

pays

sculpture beige

Die

Vogelsang,

au

Flanders

Michel,

Netherlands

the

Bas")"

sculpture
in

1896.

in

sculpture anversaise,

Pays

Art

1900.

Schtde,

seine

Renaissance

the

La

des

M.

W.

of

Bosschere,

de

und

Krafft

Modem

Rude,
Rude,

Biddle,

Jean

French

Scidpture,

1913.

1903.
1903.
Antoine

Houdon,

19 Hi

1903.

430

HISTORY

H.

Jouin,

David

G.

Kohn,

Augyste

d^

S.

Lami,

SCULPTURE

OF

Anger*.
1909.

Rodin,

DidionnaiTe

deg

de

tculpUrurt

I'Scole

du

franfaiae

XIX'

riicU,

19I4-.
F.

Lawton,

and

Li/e

Modern

Work

ScitLPTURE

"4 AufUile

in

W.

Sweden,

in

Art

Armstrong,

Enoiand,

Netbeiilani"s,

the

Denmark,

1907.

Rodin,

Great

Spain,

Britain

and

Germany,

Russia

and

Irdand

Una"

("Ars

aeries),

1909.
M.

Dieulafoy,

P.

Eggers,

F.

Araujo

G.

Gurlitt.

P.

I^ait,

E.

Plon,

W.

Life

Redgrave,

M.

Rooses,

The

Thiele,

G.

Treu,

Max

L.

Weaver,

of

Life

Memorials

C.

H.

C.

L.

Caffin,

Juliet
E.

James,

and

Monuments

Taft,

Note.
addition

of

importance
and

the

to

various

student

dictionaries

Anesoki,

K.

Woermann,

L.
J.

D.

BuddhiM
in

Barnett,

Burgess,

1897
.

.,

Art
Geschiehte

Antiquities
The

Ancient
and

modern
time

Art

in

the

sculptors

Progress,
above,

articles

Many

time

and

mentioned

illustrated
is also

to

are

ture
sculp-

on

zines
magabe

found

biography.

in

in

its
der

(folio

to

BvddhiH

vol.

Kunst,

of India,

East

Far

the

Relation

Monuments.
1911

to

1916.

and

art.

1915.

Espoaition
1915.

Exposition.

general

concerning

Sculpture

M.

in

Courts,
Panama

edition,

America

art

of

the
2d

and

(the

1915

of

in

from

of

Palaces

1903,

on

Information

papers.

1903.

GallerieK

Art

appear

Scidpture,

Ejrpoeition

periodicals

sculptors

and
in

the

1915.

monuments),

States

Exposition.

periodicals.

to

1903.

Meuni^r,

1908.

Sculpture.

Amerimn

Two

in

the

The

of

1865.

translation),

United

THE

1874.

1914.

Conttanlin

1900;

Gaudens,

the

"4

Francisco)

San

at

Lorado

IN

of

School,

series),

(English

Masters

AH

Englith

(English

Bildhauer,

Scidpture
The

Neuhaus,

Una"

Thorwaldeen

St.

Augustus

1900.

1874.

the

of

ah

American

Hind,

1885.

1912.

AHitte

ScuLPTUHE

Etpana,

en

JakrkunderU,

Works.

("Ars

of

Klinger

1913.

1909.

and

Ftandere

in

XIX

Ptariik,

Dictionary
Art

etcuhtira

dee

Life

Modenu

series),

1873-1891.

la

espasnoU,

Thorwaldtm't

Una"

("Are

1870.

Rawh,
de

Kunet

geulplure

Poriugal

Gibton,

Daniel

deuUche

Radenberg,

M.

John

Iliitoria

Die
Jm

and

Spain
of

CkTi3lian

Gomez,

S.

J.

in

Art

Eaatlake,

Lady

(a

Ideals,
general

1915.

account).

1913.

Templet,
plates).

and

Sculptures

of

India

431

BIBLIOGRAPHY

A.

Foucher,

A.

Grtinwedet,

M.

A.

Uart

of

^A'incent

the

A.

F.

Brinkley,

B.

ChavBiines,

in

indinn,

Indian

Souik

Reports

Art

Vart

Maindron,
Kea,

du

grho-buddhiqiie
BvddhiM

.i

of

icalpture

La

Fenollosa,

F.

F.

Hirth,
in

J.

E.

Epochji

China

der

L.

L'art

C.

Histoirede

Pier,

TempU

Ceylon,

1911.

LUfrature,

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1893.

Japanfte

Ueber

1885;

of

Boston,

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1900.

l'art

Treasure*

Chine.

1887.

chinois.

japonais,

and

and

Arts,

CoUecfion

the

Btdlrfin,

ArU

India

rt,

1912.

fremde

Einfiiitte

1896.

to

Fine

in

en

Orient,

KutiM,

L'art

Pal6olo^e,

T.HKyashi,
G.

of

Art

and

Roman

Inirodvction

Ixxige,

Gonse,

Chinese

of
the

rhinenschen

Museum

M.

and

Inilia.

HuOory,

pierre

rur

E.

Fine

their

China,

1SD4.

of

Survey

IlintoTy
and

1.

Antiquities,

Archaeological

Japan

101

1908.

BaddkiM

Smith,

1905-,

Gandh"ra,

India,

dujapon.
ef

Japan,

1900.

1914.

Chinese

Sculpture,

in

the

archaic

Atheiu,
chief

fifth

century,

105;

in

123;

archaic,
77,

78,

P"

M-

122,

124.

304.

des,

Harry.

149,

150,

Bayes,

Auvergne,

school

Aveiiino,

Antonio,

2S5,

Babylon,

sculpture

at.

of,

Guyot

Beauneveu,

Andr",

Babylonia,

Francisco,

Bachman.

Mai,

Bachot,

J.,

Backere.

329.

Hana.

Bacon,

BaeiB.

Bailly,

Joseph

di.

193

190.

f.

Bandinelli,

da,

Domenim

F..

Barba.

334.

300;

Ramon,
da.

Baroque,

Th"ophile,

Barrios,

Louis

BarrOD,

Eduardo,
F.

Bartholdi,
Bartholomf,

J..
326,

H.

326,

331,

393.

Edwin.

Bitter,

Karl,

Biker,

GustAv,

352.
401.

400,

370.
376.

Miguel,

329.

Lancelot,
sculptures

Hichard.

BoiHit,

404.

367.

van,

W.,

323.

at,

404.
J,

Sir

t.

Boisseau,

398.

309.

380.

E.,
A..

361.

315.

344.

362.
359

Ernest,

Bartolini.

A.,

Bontempa.
380.

Michele.

361,

375.

Sheffield.
398.

Wayland,

Lorenio.
di

Bonino

361.

A..

Edward
Paul

Bonasaieux,

f.

376.

P.

Bartholomew.

Bartolo

342,

346.

Barrau,

Bartlett.

George

Bissen,

Boehm.

Grey,

298-300.

BisseU,

Bock,

('tement

Barnhorn.

341,

181.

Blutenburg.

3TS.

George

340,

AliibonHe

Blonde],

295.

Ernst,

Barnard,

310,

Justi.

""

Biduiub,

Blay.

300.

279.

Pietro,

Barlach.

345.

P.,
375.

Niccold

Bariloto,

298.

296,

Thomas,

Baratta.

Ban,

372.

Baccio.

Banks,

Alonao.

Bertbelot,'Guillaume.
Betti(

400.

286.
von,

t.,

216.

177,

Beuren.
di

Antonio

299

Lorenw,
373.

342.

396.

390,

Ernst

345.

Gian

346,

Bernigueti,

281.

Bandel,

Mateo,

401.

403.

Giovanni

Bamboccio.

di

BatUsta

Alfonso.

Bernward,

339,

378.

A.,

Thomas,

BambaJB,

da

376.

di

Edward,

311,

de.
H.,

Balduccio,

Etonato

Berge.

32)^

Francisco
Edward

Baily.

Mariano.

Bernini,

de,

Jacob

t. ;

Roveiiano,

333.

304,

Bergai.

322.

334.

John,

Baerse,

Ball.

de,

Jan

da

286:

304.

304.

Backofen,

Jose,

183

Antelami,

Benti.

402.

Mariana,
37S.

271,

Benlliure,

306.

f.

379.

Ricardo,

295,

Nicholas,

212.

296.
372

WiUiam.

Majano,

24-31.

Bachelier,

Pierre,

342.

Antonio,

Benedetto,
30.

329.

212;

Reinhold.

and

29.

de.

Gaspar,

Bellver,

198.

197,

366.

Gilbert,

Beaugraud,

Behnes,

IS5.

382.

381.
67.

Bathydes.

Begas,

151,

362.

356,

Vasalletlo.

fee

Begaretti,

389.

Louis,

Bassalettus.

Becerra,

361.

Heiekiah.

Augustus,

121,

123,

Pierre

Aubeaulx,
Augur,

86-90,

106,

gravestones,

ii

71-76;

Minor.

Asia

J.

Antoine

Barye,

Btth

Bat"s.

sculpture,

Anb4,

io

sculpture

77.

century.
Attic,

71-7G

sculpture,
of

centre

348.
258.

391.

Jean.
da

358.
194.

Campione.
306

Pierre.

Borglum,

Solon

H"

402.

BorgoAa,

Felipe

de.

340.

Borremana.
Bodo.

Boasard,

Paschier,
Francois
JohauueB.

f..

309.

341,

329;

Joseph.
375.

353.

342.

Jan,

329

435

INDEX

Edm6,

Bouchardon,
Boucher,

Alfred.

Boulogne,

Jean

Bouteiler,
John

Bracken,

Mrs.
Edward

Branchidae,

Brasses,

engraved,
Andrea.

casting,

144-146

of

in

casting

E.,

Kirke.

Henry

Mortimer,

Richard

Hans,
J..

390,

392;

120.

Buddha,

137,

408,

art,

410,

409,

413,

407,

44,

Persian,

325.

344.

Antonio,

and

bull

46.

fico, and

Giovanni,

Pantaleone,

Buonamicus,

Paci-

347

Buonarroti,

f., 348.

Michael

see

at

Spain,

43.

Carlfes,

A.

Dijon,

212,

199.

200

213-215,

256.

sculpture
Mrs.

in,

Edith

Woodman,

Jay

Catell,

Arnall.

Cathier,

365.

Kirke,

402.

356

175,

197.

f., 362,

251.

de,

345.

241.

Danese,

298.

Jules,

Marie,

Ceylon,

362.

353.

me,

Pierre

Cerrachi,

Chantry.

358.

Pierre,

Philip

Chandler,

411.

174,

Baptiste,

394.

358.

361.

Tommaso,

281.

Benvenuto,

296,

Giuseppe,
in,

art

Chaleveau,

405.

Henry

304

f.,

345.

renaissance,
Jean

Cellini.
of, 197.

376.

J., 362.

Cazzaniga,

Angelo.

school

sculptor,

Salvador,

Castro,

Cazin,

350,

389.

378,

281.

Cariat.

Cavelier,

283.

63.

Burgundy,

372,

Spanish

Cattanes,

181.

Bupalus,

370,

Castalys,

409,

408,

47;

Bartolommeo,

Bush-Brown,

297.
297.

Alonso,

Canova,

298.
389.

Carrier-Belleuse,

415,

412-417.

capitals,

Burroughs,

411.

376.

Elia,

CarteUier,

411,

Bunna,

in,

68.

Peter,

382,

Buddhistic

Candid,

Carpeaux,

417.

lion,

67,

Carolingian

258.

Bryaxis,

Buon,

Jose,

Canachus,

Carmona,

324.

356.

Brunelleschi,

410,

Campeny,

Carbonell,

387.

BrQggemann,

416,

190.

Girolamo,
Thomas,

368,

402.

A.

401.

di,

sculpture

Caradosso,
405

300.

Campbell,

Cano,

384.

Brown,

S,

216

403

285.

Candido.

Italy,

in

Germany,

process

Carol,

Brun.

doors

can
Etrus-

9;

Milne,

England.
Brooks,

xxvi

patina,

in

perdu

cire

244

xxv

methods

statues,

work

in

330.

xxiv;

xxiv,

work,

Bull

du,

294.

Charles.

Campagna,

382.

381,

356.

406.

Tino

Camelio,

281.

278,

67.

Camaino,

404.

314

93.

85,

403,
A.,

Gallon,

401.

79,

Alexander

Cambodia,

Egyptian

176

Calder,

Jacques,

Denis,

Tiberio,

Calverley,

P.,

composition,

early

164.

159,

362.

78.

Calegari.

332.

309.

Jacques

Bronse,

235,

314

Louis

Auguste,

Stirling,

402.

Thomas,

Broeucq.

68.

286.

Thomas,

Antonio,
Sir

63

62,

67,

at,

Robert

Briosco,

of

from,

D.,

Pierre,

Brock,

157,

314.

Calcagni,

411.

225,

George

J. J.. 313,

Calamis.

282.

Victor

Bringhurst,

Cain,

410,

409,

Bregno.

Brewster,

281.

154,

Caillouette,

405.

367.

statues

Brenner,

Julia,

391.

Canachus

by

Briard,

405

A.,

art,

statue

Roman,

Philippe,

Clio,

Pierre,

Brahmanic

Agostino,

Busts.

Caffieri,

le, 212.

J., 399.

Bracket,
Braeck,

Busti,

Bologna.

see

Boyle,

312.
362.

G.,

Charioteer

at

Chartres,

Jean

411.

3a3.

Clyde
Sir

305.

388.

F.

Giltner.
L..

378.

Delphi.
de,

79,

406.
379.
80.

303.

436

INDEX

E.,

Chatrousse,

Denis,

de.

Jean

Chelles.

Cresilas,

361.

Antoine

Chaudet,

212

(Khafra),

Chephren

sculpture.

Chian

Joseph,

Chinard,

Andrea,

Ciccione,
Cinerary

286.

statues,

251,

Louis

253.

Michel

Cyrus

Jules,

J.

B.

A.,

Shobal

Clevenger.
Clodion.

Peter,

Coecke,
Cohen.

198,

Katherine,

Colin

Alexander,

(Colyns),
Jacques,

Collet,

Colotes,

Conner,

arch

Greek

art,

13

86,

85,

statues,

88,

in

sculptor

Spain,

335,

A.

Corradini,

del,

Felipe

Cortot,
Cosmati,

180

f., 189,

Lorenzo,

CouUant'-Valera,
William,

Couper.
Couston,

Guillaume

Nicholas,

and

Brinton,

Charles

Antoine,

Coysevox,

Crawford.

G.

de

la

A.

D..

Thomas,

277.
361.
389.

Cruz.

Robert.

Dixey,

311,

312.

271.

129.

376.
337.

374.

sculpture

at,

Julien,

365,

213-215.

212,
367.

67.

Emil.

375.

John,

388.

del

Domitian,

Barbiere

(Domenique

305.

Florentin),

403.
310,

Giacomo,

Coszarelli,
Crauk,

Versailles,

Domenico

350.

312,

of

270,

391.

Angelo,

Dittler,

127.
285.

Settignano,

Henry,

Dipoenus,

376.

400.

xx.

367.

Dexter,

Dillens,

285.

six

relief,

Robbia.

see

da

Dijon,

354.

361.

statue,

Desenfans,

Diez,

345.

Pierre,

Jean

Antonio.

Diego

300.

Corral,

f.,

332.

Demosthenes,

Diaz,

362.

A.,

Hans,

355

substantive,

Eugene,

Robbia,

Diana

337.

Cordonnier,

xs

Desiderio

Dutch

xix

sculpture,

Jean,

Dentone,

100.

150.

93,

Copin.

Delia

164.

Egyptian
97,

art,

of

92,

Delcour.

of,

of

Greek

(d' Angers),

Jefen

Delaplanche,

394.

402.

Conventions,

Copies

Pierre

decorative,

Francis,

Jerome.

Constantine,

and

357.

386.

Pierce

Connelly,

Adolf

(Daucher),

Definitions,
R.,

43.

26.

David,

305.

303,

256.

93.

W.

Colton,

298.

289,

45.

322.

302,

de,

Juan

335.

368.

Codomannus,

Dauer

331.

325.

212.

Michel,

Colombe,
Colonia,

44,

Daudu,

405.

212.

Spain,

in

H.,

Vincenzo,

Darius

331.

386.

Gui,

362.

J.

Darius,

229.

200,

and

Fleming

Danti,
of,

f., 382,

A.,

Dannecker,

391.

314.

abbey

Cluny,

358
Andr6

133.

Dancart,

Vail.

285.

148.

J.

Dampt,

361.

403.

402,

Giovanni,

Damophon,
xx.

350.

E.,

Damophilus,

314,

(Clodion),

in,

sculpture

C16singer,

Cox,

Dallin,

Dammartin,

315.

of

Nicholas,

Dalou,

271.

Anton,

Claperos,

67.

Dajou,

Dalmata,

f.

191

Matteo,

Civitale,

f.

141

groups,

urns,

di,

Andrea

Clay,

49-52.

44.

43,

Daedalus,

345.

Chirriguera,

Claude,

30,

405.

379.

67.

Chirisophus,

Cione,

Earl,

Allan,
sculpture,

C3mis,

411-415.

137,

404.

Melvin

Cypriote

353.

sculpture.

Chinese

Leonard,

Cunningham,

75.

1 13.

89.

86,

85,

Cummings,
74,

73,

64,

78,

Crunelle,

212.

8.

7,
63.

de,

Pierre

94.

93,

Critius,

353.

156.

Donatello,

258,

270,

271.

285.

286,

273.
289,

260,

262-266.

268,

275,

277,

282,

291,

296,

278.
365.

437

INDEX

Raphael,

Georg

Donner,

John,

Donoghuo,

63,

Pierre,

Doulis,

Alexander,

Drury,

Alfred,

Dubois,

Paul,
J.,

J.

Ducaju,

Dungi,

Mrs.,

356

E.,

Duque,

P.,

Darer,

Albrecht.

Duret,

FranciRQue

317,

Gaul,

J.,

EannatuiH,

Abastenia

Eberle,

Egas
Egypt,

1-23

in,

art

Elamite

kingdom,

Elgin

marbles,

Elias,

Spanish

in

temple,

Epigonus,

65

later

W.

Frith,

Fusina,
102,

104,

Fuxa

277.
404.

356,
Chester,

10,

Leal,

357.
396-398.

385.

382,

S.,

415.

164,

Andrea,
y

402.

401,

179.

Daniel

130.

of,

E.,

II,

Frontality,

sculptures

297.

Emmanuel,

French.

375.

f.

J., 384

Giorgio,

James

Fr^miet,

343.

364.

G.

John,

Frederick
17-21.

383.

255,

Pietro,
di

122.

Erechtheum,

A.,
Sir

Fraser,

400.

Richard,

temple,

C.

Frankenstein,

376.

early

Foyatier,

357.

Francesco
403.

Edwin,

Egypt,

Ephesus,

Damian,

Francanilla,

375.

376.
281.

Onslow,

Edward

Ford,
Forment,

Fraikin,

Jackson,

Engelmann,

Cipriano,

Frampton,

375.

Miguel,

Empire

324.

sculptor,

Frank

Embil,

ventions
con-

95.

Henry

Ellioott,

44.

Benno,

Elwell,

13.

Theophilus,

Ehrenfried,

Elkan,

of,

Margaret,

380;

Cristoforo,

Foppa,

335.

2.56,

352.

300.

Henry,

Folgueras,

chronology

of

B.,

John

320.

sculptor,

392.

405.

376.

Eyck),

(Van

Leger,

St.

Julio,

Echeandia,

G.

Foley,

372.

Peter,

Swedish

Foggini.

Konrad,

Eberhard,

382.

378,

(Flettner),

Fogelberg,
25.

f.

156

330.

Flotner

133.

402.

John,

Floris,

131,

278.

sculpture,

Fiaxman,

356.

303.

387.

John,

Flavian

379.

130,

Niccol6,
Frank,

Flanagan,

331.

322.

Joseph,

Joseph,

Dying

331

300,

da,
375.

285.

Fisher,

F.,

295.

Juan,

Fioreutino,

345.

Duquesnoy,

300.

Girolamo

Filarete,
349.

386.

Andrea,

Fiesole,

315.

367.

Josu^,
Giovanni,

Durham,

E..

Figueres,

Dupr6,

339,

277.

276,

C,

Henry

Femicci,

29.

Dupon,

Sandro,

332.

Antonio,

Ferrata,

392.

364.

A..

A.

Dumont,

Fehr,

386.

357

L.,

Federighi,

370.
385,

d'herbe,

Fay

401.

Friedrich,

di

Domenico

340.

304.

Drake,

mediaeval

in

artists
f.

180

Fancelli,

67.

Doryclidas,

Doyle,

68.

67,

66,

Rome,

313.

J.,' 358.

A.

of

Families

sculpture,

Doric

J.

Falgui^re,

67.

Dontas,

E.,

M.

Falconet,

326.

401.

281.
376.

105.
Eshin

S6su.

Estany
Etex.

Antoine,

Euphranor,

Pedro,

Domenico,

J.,

392.

JAon,

362.

Gandh"ra,

Gardet,

270.

Matteo,
de,

376.

Hellenistic-Indian

409,

Fagel,

Antonio,

304.

Jose

Gandaris,
Jacob,

f. ;

286

287.

Gambarelli,

75.
Moses

3V6.

GaUde.

356.
120.

EuthydicuB,
Esekiel,

Gagini,

417.

Capella,

411.

Georges,

413,
362.

415.

ture,
sculp-

438

INDEX

Gaul,

H.

Gauqui^,

D.,

Gautherin,

GuiUaume,

Geefs,

Joseph,

Russian

Gensburg,
Gentil,
Geremia,

Cristoforo,

Gerhaert,

Glaus,

Gerhard,

Hubert,

Gerlach,

Gustave,

G6r6me,

J.

Geyger,

339,

Ghini,

John,

de

Siloe.

Gines,

192,

di

282

f.. 189,

Glycon,

il,

and

Antonio,

Anton

Gosen,

Theodor

Gothic

sculpture,

203-207

Francesch,

209

f. ;

417.

174,

Spain,

f
.

210

in
246.

f.

210
;

184-196;

in
in

England,

of,

in

392.

Jean,
Thomas

89,

Germany,
229-239;
in

248-256;

lands,
Nether-

f., 309.
R.,

392;

330.

Thomas,

78,

Scott,

J.,

Henry

403.

392,

304.

Greece,

enter

53.
in

chapel

VII,

Westminster

f.

332

of

394.

402.

N.,

Hellenes,

403.

391.

Eli.

Polyclitus,

91,

63.

61,

343.

Gregorio.
C.,

Frederick

Juan

Hittites.

41-43.

Hoeffler,

Josef.
Frita,

404.

374.

Adolf,

HUdebrand.

Hoemlein,

77,

65..

Harvey,

Hinestrosa,
307

E.,

T.,
Jonathan

Hibbard,

323.

Aristogeiton,

Hartley,

Hernandez.
in

386.

sculptor,

tomb,
Joel

Samos,

221-

375.

Albert

Hera,

tury,
cen-

375.

113.

Abbey,

thirteenth

fourteenth

161.

Herbert,

and

Henry

methods,

327.

Goujon,

337;

371.

Bavarian

Haslin,

architecture,

to
208

211-214;
226;

175,

subjects

relation

schools,

century,

356.

85.

G.

Haseltine,

375.

quantity,

Hermann,

Harpy

256.

190.

203-215;
;

of

f.

Burgos,

373,

Haller,

Harnisch,

von,

France,

207

67,

Ernst,

Hart.

Ono,

183

345.

160,

Hermann,

Hans,

46.

45,

332.

and

Goroyema,

188

375.

150,

Hampton,

148.

Gregorio,

32,

416.

H"hnel.

80.

di

Gould,

f.

304

281.

Gorgasus,

E.,
at

Ludwig,

Hahn,

313.

106.

Persian,

L.,

Gomar,

C.

Francisco,

Harmodius

Godecharle.

30,

339.

Hageladas,
f.,

136.

Gobbo,

B.

Bosatsu,

Hadrian,

192.

191,

310

105.

tiles,

309.

sculptor

Habich.

Pisano,

342.

Giovanni

Glased

Simon,
J.

Fra,

184.

Francisco,

384.

67.

Baschi,

29,

182,

183

Como,

Gutierres,

Francois,

Giusto,

in

382,

Francisco,

Gitiadas,

392.

254.

187

Girardon,

Goro

GuiUaume^,

Martino.

186.

Giralte,

Gjol

391.

Gyoji

191,

Giotto,

185,

Guillain,

337.
376.

Giovanni

of

334.

380,

Jose,

28*

Modena,

182,

Guillen,

Alfred,

S.,

309.

of

Verona,

191.

199.

GUbert,

Gilles,

Guido

379,

Gilabertus.

Lagash,

of

Guglielmo,

268,

285.

Grinling,

Gibson,

266.

Vittorio,

Simone,

Gibbons,

GU

258-262,

389;

ruler

Gu^rin.

374.

Lorenao.

271,

365.

33.

361.

M.,

de,

377.
R.

337.

Juan,

Gudea,

402.

389

181.

Guas,

325.

L.,

E.

Ghiberti,

GruamoDS,

323.

sculptor,

Horatio,

Guillaume

Groot,

278.

323.

Russian

Greenough,

306.

Francois,

403.

Erasmus,

Gratchoff,

377.

sculptor,

Charles,

Grasser,

364.

etc.,

135-137.

376.

Jose,

Grafly,

356.

295.

sculpture,

Gragera,

361.

Thfeodore.

da,

Franoecso

Graeco-Roman

362.

Jean,

Gechter.

Gian

Grado,

374.

August,

de.

375.
375.

345.

93;

of

439

INDEX

Hoetger.

Bernhardt

Hoamer,

Harriet,

Houdon.

J.

A.,

Hudler,

August,

Huerta,

Juan

375.

la, 214,

de

253.

390.

Vaughn,

Anna

Hyatt,

388.

314,

Ball,

Hughes,

K5ben,

375.

373.
391.

405.

417.

Kolbe,

Georg,

Konti,

Isidore,

Korea,

sculpture

K6sho,

417.

Kraft.

Adam,

Krug,

Ludwig,

Kwakei,

tie

de

mediaeval

France,

sculpture.

J.

Injalbert,
Ionic

63.

Ives,

in

182,

67,

84.

77,

68,

B.,

392.

Bysantine
in

198;

170,

168,

art,

Italy.

171,

175

f.

317

322.

F.

Mrs.

in

M.j

348.

Coleman,

Anna

Albert,

Lagae,

Jules.

Laiti6,

French

Lalaing,

97.

Chauncey

Ivory,

65,

415.

417.

Laessle,

362.

A..

Isocephalism,

Ladd,

339.

Jacopo,

407-412.

sculpture.

in,

316,

Laboureur,

and

sculpture.

401.

400,

of

203.

197.

Francesco

Indaco,
Indian

school

375.

367.

sculptor,

Jacques
Jef,

Lamberti,

Nicola

356.

f.

366

de.

Lambeaux,

366.

di

Russian

Lancere,

405.

405.

Piero,

196.

376.

sculptor,

France,

197,

Germany,

in

200;

Lanfrani,

216.

Lang,

Jacopo,
Hermann,

John

sculpture,

Japanese

in,

art

Jerichau,

Lant^ri,

352.

A.,

Laurana,

Gosconibe,

386.

Adrian,

John

E..

Jouffroy,

385

Juan

Inigo,

356.

Lawson,

G.

Lederer,

Hugo,

343.

Juste,

304

f.

Frederick

J.

Leochares.

James

Hans,

E.,

Edward,

Keyser,

Ephraim,

Kinai,

John,

Kirk.

Thomas,
August,

Kitson,
402

Kiushu,
Klioger,

Henry
;

Mrs.

H.

H.,

418.

Max.

405.

Lomme,

212.

Alfonso,
Janin,

34,

art,

Persian,

37,

38

46.

376.

212.

Pietro
:

376.

401.

Brugera.

Robert,

Lombardi,

sculptor,

bull,
y

Loisel,

285
374.

and

Llimona
;

f.

392.

Assyrian

in

lion

Samuel,

343.
284

275,

323.

de,

Henry,

Lion,

402

Pompeo,

Russian

Jean

linder,

403.

268.

195.

368.

lidge,

Hudson,

and

Edmonia,

403.

370,

314.

Giovanni,

Ser

Nicholas,

lieberich,

379.

356.

129.

Alessandro,

402.

391.

313.

384.

383,

Henri,

B..

Leone

Lewis,

418.

King,

Leoni,

Lessing,

401.

375.

Frederick,

120.

Leopardi,

322.

374.

di

Lerch,

Kemeys,

Kiss,

401.

417.

Kelly,
Kels.

Robert,
377.

302.

381.

Philippe

Lemoyne,
and

Feodor,

Katakin,

A.,

Lord

Leonardo

Kaldenberg,

de,

Jean

212;

287,

286,

W.,

Lemaire,

Antoine

Kamensky,

de,

18.

Leighton,

394.

315.

de,

Jean,

382,

362.

278,

Lehmbruck,

Pierre,

Juste,

333

379.

Francois,

Julien,

R..

Robert

Laurentius,

W.

Jones,

F.

386.

212.

417.

John,

292.

Launoy,

417.

J6ch6.

380,

f.

199

197,

135.

134.

Larche.

415-418.

137,

of,

f^douard,

Laoco5n.

411.

J.

Jitsugen,

Juni,

see

356.

Georges,

Jacquot,

Querela.

375.

school

Languedoc,

391.

Quercia,

della

Jacopo

Java,

Adams,

375.

Richard,

Langer,
Jackson,

195.

his

and

284,

sons,

296.

252.

253,

255,

327.

440

INDEX

E.,

L.

Longepied,

Charles

Lopei

A.,

Guido.

278-280,

286,

302.

305.

405.

B.,

Michael,

Longuer,

Mazzoni,

362.

Evelyn

Lougman,

256.

McClure,

402.

McGill,

J.

C,

387.

David,

386.

Mariano,

Lorenso

di

Lorrain,

Robert

le, 310.

Hans,

Lukeman.

Henry
Greek

Lycians,

313.

311.

Carlo,

Luetkens,

Lycia,

277.

Andrea

Lucchesi,

Augustus,

sculpture

in,

medal-maker,

Lysistratus,

119.

Maccagnani,

128,

MacGillivray,

Pittendrigh,

James

386.

Mackennal,

Bertram,

MacMonnies,

Hermon

Maderna,

S.,

de,

Marinas,

Martinez.

161,

Spanish
E.

Mausoleum,

Michel,

G.

de,

375.

401.

da

397.

393,

278;

Fiesole,

Antonio,

Paolo

de

Compostela,

Guillaume,

Jean

Antoine

Jehan,

120-122,

126.

Mozier.

353.
214.

le,

330.
370.

Jose,

Martinez,

Juan

Rafftiello

upo.

Paul
Jose

da,

344.

Mathurin,

361.
215.

Jacques,
Giovanni,
Pere,

339.

251

Guillem,

253.

Jean^

Guillem

de

la,

Frederick,
Joseph,

343,
296.

387.

R.,

de,

Mosselmans,

Moynihan,

285.

278.

Moreto,

Mota,
404.

272,

418.

Moitte,

Morel,

214.

Pier

271,

54-58.

art,

Morey,

109,

14-17.

390.

Giovanni,

Moreau.

213.
and

N.,

286.

337.

Minelli,

Montford.

195.

Herman

282,

358.

Martin,

Mora,

212.

Santiago

Eg"''pt,

Milmore,

Monte]

376.

Jaeobello

f.. 280.

64.

Pedro,
Aim6.

341,

379.

269

63.

Clark.

289-

215.

Kingdom,

MUlet,

340,

362.

263,

Mills,

288,

311,

373,

F.,

Monserrat,

380.

400,

310.

372,

f., 374.

276,

258,

Jean.

Mone,

356.

243.

Matzen,

346,

365

298.

Montafies,

R.,

Philip,

at

342.

Moiturier,

sculptor,

Jean

Massegne.

296.

Minoan

362.

Calder,

Martiny,

Matheus,

162.

il., 277.
W.

326.

375.

Angelo,

295,

Moderno,

376.

H.,

Marville,

delle,

Cristo-

305.

Charles,
L.

Constantin,

Miwa,

Aniceto,

399.

X.,

F.

Meunier,

Mino
and

Francois,

256.

360.

278.

405.

Aurelius,

Marqueste,

Martin,

286;

281.

Marochetti,

Marshall,

271,

335.

Antonio

Marchand,

Marrina,

da,

A.,

Franz,

Middle

Mrs.

192.

Paul,

Marcus

286.

Jean

J.

Metsner,

Millan,

Benedetto

280,

401

349.

da.

Laurent,
M.

Mikkiades,

Lorenzo,

344.

136.

Michiel,

398.

300.

Mantegazza,
foro,

Atkins,

Pietro,

Giuliano

William,

405.

A.,

Manship,

de.

Michelozzo,

386.

Frederick

Hermon

367.

Pedro

Michael

379.

376.

322.

L^n,

Messerschmidt.

350.

Patrick,

Malines.

Conrad,

Merci6,

149;

137,

278.

Eugenio,

Macdonell,

MacNeill,

de.

Mercadente,
116-119,

Italian

Majano,

Sabino

Mena,

109,

393.

405.

67.

Mejnon,

106.

65,

43.

Maitani,

44.

Menelaus,

Lysippus,

Magni,

Medes,

Meit,

401.

93.

Lydians,

Helen,

Medon.

375.

Goldsmith,

Mears,

Medina,

383.

43.

Lycius,

Larkin

Mead,

295.

Lorenietto,

391.

254.
401.

251.

344.

442

INDEX

Giovanni

Pisa,

da.

Pisanello,

184-187.

Giovanni,

189,

257

Piaistratus,
Pitts.

William.

Andrea.

Albin,

191.

67,

da.

339.

del,

273.

91-93,

85,

94,

136.

135,

Ponzano,

W..

Angiolo
della.

della,

19,

Egyptian,

21,

157,

5,

fourteenth

149,
164,

162,

161,

16,

154,
165

18,
155,
the

in

in

213;

212,

century,

Germany,

7,

6.

Roman,

22;

159,

221.

Portuguese

D.,

370.

212.

Raymond

du

ReaUsm,

119,

224,

226,

373

f., 375

Temple,
212,

392.

Louis

T.,

Denis

337

xix;

10,

3,

11.

early

of

16;

Persian,

65,

64,

44-46

67,

66,

picturesque,

71,

32-

31,

archaic

68,

f. ;

106

20;
late

25;

Assyrian,

Middle

Empire,
24,

30

tian.
Egyp-

of

12;

Babylonian,

Greek,

sculpture,

404.

303.

Babylonian,
39

f.,

365

le, 304.

G.,

early

223.

221,
356,

f.

definition,
2,

215.

f., 355,

417

f.,

Vinnie,

Reliefs,

212.
213,

349

301,

Kingdom,

304.

Portraits,

C.

Jean,

tonio.
An-

296;

304.

300.

Regnault,

375.

Giovanni

Guglielmo

296;

279,

181.

Rebours,

386.

Ponciano,
Fra

A.,

Rebisso,

127.
F.

Raggi,

Ream,

134.

Pomeroy,

277,

376.

Nicholas,

Ranucius,

193.

405.

Polyclitus,

Porta,

190,

192,

Ravy,

Antonio

Polyeuctus.

275,

f.,

Rauch.

Pollaiuolo,

Polydorus,

Agustin,

Quesnel,

379.
Giuliano

Polaaek,

187

186,

Nino,

189,

74.

73,

Poggibonsi.

188,

185.

192;

191,
195,

della,

Jacopo

Querol,

278.

257;

Quercia,
290.

Nicola,

Pisano.

192,

da,

295.

286,

285,

Isaia

277;

Greek.

72;

various
124

gravestones,

on

133,

154,

328;

Neo-

Russian

Posene,

Edward

Potter,

Hiram,

Powers,
and

Juan

Pradas,

Pratt,

art,

Rhodes,

Hennequin,
Thomas,

Proctor,

212.

Phimister,
school

Provence,

of,

197,

Denys,

360

f.

Puget,

Pierre,

310,

311

A.,

202

345.

f.

Queirolo,
Quellin,

Riviere,
331,

332.

134.

Rizzo,

4.

386.
401

William

135.

348.

Ligier.

f.

305

Wilhelm.

375.

Tilman,

E.

F.

A..

William,

370

Henry,

198.

L.

A.

Antonio,

320
f.

392.

William

Rinehart.

300.

Artus.

England,

278.

Rietschel.

Ritlius,

163;

386.

Riedisser,

Rimmer.

285.

400,

Riemenschneider.
f.

Egypt,

W..

Stefano,

Richier.

402.

160.
in

63.

Riccio.

Puech,

Pyrgoteles,

Ricci,

212.

in

Massey.

125.

Rhoecus.

Prindale,

Pujol,

J.

Birnie,
307,

f.

uous
contin-

376.

Jose.

Rhind,

305,

159,

151156

305.

53-58.

Primatice),

(Le

Renaudin,

tune,
Nep-

ff.

art

Reynolds-Stevens.

3094

Priv6,

and

Reynes,

309.

Titus,
in

158,

237

358.

Barth^lemy,

Primaticdo

120,

133.

A.,

Prehellenic

119,

of

170-172;

236,

of

Pads,

157-159;

style,

230,

altar
ara

arch

of

Byzantine,

111-117.

129,

A.

from

from

Trajan,

Religion

128,

123,

Pr6ault,

154

153,

339.

93.

109,

154
f. ;

150

of

402.

L.,

Praxiteles,

Prieur,

Preston

356.

354,

137,

402.

396.

de,

Garcia

Bela

Praxias,

392;

392,

James,

Louis,

389,

Longworth,

Pradier,

402

C,

Attic,

377.

sculptor,

T.,
283

362.

f.

391.

f.

443.

INDEX

Roberts,

Howard,

Robbia,

deUa,
Andrea,

268;
289

Mattia,

Fra

brogio,

Giovanni,

268

Girolamo.

268

305

268,

Andrea,

di

Luca

Am;

of, 268,

Rococo,

300,

346,

326.

364,

365,

of,

school

Poitou,

period,

Salte

Salvador,
Saly,

339.

273,

361.

21^.

197,

201.

268

school

and

de,

R.

de,

Jean

Saintonge

268,

Fra

Romain,

St.

266-

258,

191.

268;

C.

Saint-Maiceau,

394.

393,
Luca.

368,

22.

A.,

345.
350.

Jacques,

Sammartino,

300.

(Semiramis)

Sammuramat

369.

35.
,

Rodin,

Auguste,

375,

374,

362-364,

Russian

Samonofif,

Juan,

Samso,

386.

Rodrigues,

376

Andres,

Roger-Bloch,

Juan,

Rogers.

Randolph,

Roland,

sculptor

391

in

Sansovino,

Laurent,

Pedro

Roman

Luisa,

and

sculpture,

Romanesque
203,

137,

sculpture,

197-

241-247,

de

Compostela,

of

Sarcophagi,
Alexander,
137

295

Paolo,

Romantic

Spanish

sculptors,

Antonio,

Bernardo.

270,

Rossi,

M.,

Roth,

Frederick

270.

345.

271,

286;

271.

Roubiliac,

John

H.,
le,

Roulland

le,

304.

Rovessano,
Rubens,

W.,

F.
Isidore

Rudder,

295,

400.

de,

Francois.

Rudolfino.

Rupy,

356.

181.

Jean

Scaligers,

tombs

Schadow,

J.

de,

P.
Paul

Schenck.

F.

J.,

F.

Johannes,

Schiater,

Andreas,

376

322.

mediaeval

197

Hans,

J.

Francesco,
M

295.

Schwegerle,

334.

322

109-111,

372.
;

Hans,

Scopas,

sculpture

flf.

Ludwig,

Schwarz,

f., 381.

371

325.

early

France,

331.

370.

H.,

Martin,

Schwanthaler,
in,

sculpture

der,
386.

Schilling,

of

369.

368.

van

E.,

Rudolf,

334.

Rysbrack,

tury,
cen-

194.

369

P.,

Schelde.

in

212.

Giovanni

Rustici,

276.

thirteenth

of,

Scheemakers,

Schools

388.

modern

Stefano,

of

G.,

Schongauer,
405.

WUliam,

Russia,

f..

di

sculpture

Schievelbein,

367.

354

Theo,

Ruggles,

Rush,

da,

304.

332.

Ruckstuhl,

44.

Giovanni

Scheffauer.
Benedetto

309.

kings,

218.

402.

304

37.

36,

Jacques,

Sassanide

402.

334.

Richard

Rude,

Sarrazin,

141-144;
Christian,

165;

Asshurbanipal.

see

27,

Saxon

G.,

163,

Rudolph,

401.

375.

113,

118,

120,

119,

.,

122,
Sagrera,

Francesch,

Juan,
St.

and

Gaudens,
401

Louis,

Miquel,
Augustus,
401.

of

165.

164,

Sassetta,

300.

Roudebush,

160.

Sardanapalus,

370-

123

Sidamara,

from

Etruscan,

167;

Roman,

Sarg6n,

brothers,

Rossellino,

f.,

163,

ff.,

354

348,

f.

380

Rouz,

286,

281,

286.

285,

School,

373,
Ron

Cristoforo,

Gian

Romano,

229,

199,

Mourners,

125

327.

250,

241-243.

174-183,

227-229.

216-221,

288Xj_2?6,^330

298.

296,

Santiago

344.

148-165.

295.

375.

Andrea,

Jaoopo,

Roldan,

195.

di,

Medardo,

Sanmarti,

353.

de,

Francesco

Sangallo,

392.

eighteenth

the

Philippe

315;

century,

John,

367.

Andriolo

Sanctis,

362.

376.

376.

Charles,

Samuel,

340.

sculptor,

Guillem,

Jaime,

394-396,

Scudder,
Scyllis,

253.
398,

123.

Janet,

405.

67.

Selinus,
Sennacherib,

from,

metopes
37.

66,

67,

80.

444

INDEX

Sevenu,

Septinuufl
J.

Sergell,

G..

Shamsbi-Adad,
Sheik

el

Shrady,
Siam,

5,

Henry

M.,

F.

in,

de,

Gil
P.

Simart,

402.

C,

402

Franklin,

Skodik,

314

313,

Sebastian.

313.

Sluter.

Glaus,

327.

253,

214,

213,

212,

67.

Solari,

Cristoforo,

281

Tullio,

and

284

tonio,
An-

Pietro,

;
;

Sonnecte,

Georges

Soulas,

Jean,

Sperandio,
St.,

de

William,

Stephanus,

W.,

Jean,

E.

Thomas,

kinds,

333,

93.

Susillo,

Spanish

Swan,

John

Syrlin,

376.

sculptor,

Tacoone,
Tadotoshi,

Paolo,
418.

157,

156,

159.

386.
304.
418.

Tordesillas,

de,

Caspar
Fred,

342.

405.

Pietro,

295.

sculpture

of.

383.

school

297.
285.

of.

333.

199,

157,

(Niccold

339.
218,

Tudesilla,

E..

342.

376.
368.

Paul,
Louis,

401.

Angel;

Alexander,

Troubetskoy,
Tuaillon,

Pericolo),

Miguel

373,

304.

160.

159,

Frederick

Triebel,

303,

302,

158,

Trajan,
Tribolo

Trilles,

321.

Pietro,

f.

32.

of.

arch

Trippel,
Tacca,

404

f.,

370.

Albert,

Tours,

Macallan,

Jorg,

406.

241.

375.

Styppax,

D.,

350

389.

379,

120.

Toulouse,

349.

93.

Franz,

F.,

Torrigiano,

317.

254,

Strongylion,

392;

348,

120.

Douglas,

Torrey,

Giovanni,

Stuck.

380,

f.

381

68,

372,

Harry

Tomoyoshi,

334.

392.

Veit,

Bertel.

Tiglathpileser,

Toft,

361;
383.

393.

Hamo,

370,

J..

G.

Havard.

J.

W.

C.

102.

415.

361;

Launt,

Tomagnino,

Wetmore,

Waldo.

Strazza,

methods

of,

E..
387

352.

Titus,

379.
xzi

xxii-xxiv.

William

Stoss,

367.

63.

in,

sculpture

Timotheus.

Nicholas,

Story,

Spain,

304.

sculptures

Theseum,

Tilden,

George,

in,

work

Stone,

365,

392.

Alfred

Stone,

der,

van

different

Samos,

of

Theroulde,

Tieck,

405.

136.

Stevens,

in

sculptor

Theodorus

Thraasonedes,

Saint.

Emma,

379.

German

Thrasher.

Charles

Stebbins,

Etnuia,

67.

351.

Ralph

Stappen,

in

statues

305.

Thorvaldsen,

la, 215.

305.

under

see

T.

Jean,

Theed,

Thornycroft,

349.

278.

Stackpole,

of

Texier,

Thompson,
Francesco,

348.

xx;

Frederick,

Tommaso,

349.

Somaini,

402.

Pietro,

Thibet,

Smilis,

386.

335.

402.

Michel,

E..

Theodoric,

364.

Antonin,

SlodtB,

Carl

Theocles,

381.

".,

135.

298.

Mowbray,

141.

361.

George,
L.

Tauriscus,

Terra-cotta,

393.

Simonds,

349.
375.

296,

Frank

Tenerani,

68.

67,

at,

Amory

Simonis,

Jacopo,

Taubman,

Tefft,

337.

C,

Simmons,

411.

362.

L.,

sculpture

Sicyon,
Siloe.

Tatti,

59.

7,

Beled.

sculpture

Sicard,

Antonio,
Ignatius.

Taschner,

35.

339.

417.

Tantardini,

35.

de,

278.

Tankei,

356.

Gabriel,

Shalmaneser,

Juan

Talpa,

300.

Bernard

Seurre,

404.

Lorado.

Talavera,

352.

T.,

Serpotta,

Taft,

163.

162,

377.
374.

296.

229,

445

INDEX

di

Turino

Sano,

di

276.

Turino,

Alfred,

Turner,

portraits,

royal
Greek

early

of

8;

Cornells

278.
417.

Uphues.

373.

sculpture

Ur-Engur,

25,

Valentine,

of,

Edward

V..

Pere

Vallfogona,

326.

Walker,

Nellie,

405.

Walter.

Edgar,

405.

Ward,

Elsie,

405;

253.

Olin
G.

253,

254,

and

Agapito

Venancio,

375.

Vancell,

Jean,

376.

Rasbourg,

Van

Vassalletto,
Va8s6,

Vela,

Lorenzo,

94,

Capitoline,

136;

115,

de'

136;

114.

115,

Pierre,

331

Pierre

Henri

332;

younger,

the

Francois,

Mrs.

C.

R.,

Verrocchio,

362.

Andrea,

Vicentino,

Andrea,

Victorg

FeUpe,

346,

de,

Jose,

Wolfif,

370.

Francis

Wood,

sculpture

Villabrille,
Villanueva,

de,

Viscardo,

Girolamo,

Viflcher.

Peter,

Hermann,
;

Vittoria,

Volkmann,

334.

Patience,

388.

John,

379.

349.

Ettore,

Elnid.

Yeiyiu,

405.

418.

304.

317.

f.,

318

Peter

the

324;

Zanza,

Zeus

298.

Zutt.

Printed

in

the

United

States

345.

418.

Olympia,

at

Zumbusch.
375.

la, 339.

Francisco,

Zengoro,

392.

de

Vasco

Zarcillo,

younger,

319.

Artur,

Christopher.

45.

Yandell.

345.

Alessandro,

Leonard.

380.

345.

366.

318;
Hans,

387.

in, xxi.

Richard

Ximenes,

Juan

Thomas,

324.

374.

Mrs.

Xerxes,

365.

Alonso,

Vincotte,

Sir

317,

342.

375.

Juan

Wren,

368.

Derwent,

Thomas,

Wright.

341,

364,

350,

Michael,

Wood,

183

325.

Wohlgemuth,
Albert,

182,

183.

de,

Georg,

Casper,

R.

of

A..

Mrs.

350.

Modena,

182,

Wyatt,

340,

Pierre

Vilches.

284.

Nike).

{see

Vigarni,
Vigne,

273-275.
285.

394

405.

of

Wrba,

thirteenth

of

Johannes,

Peter

Witte,

378.

Anne,

Payne,

Woolner,

332.

Verlet,

R.,

f.

219

Winckehiiann,

"genetrix,"

Cnidus.

of

Verbruggen,

Volk,

sculpture

Verona,

349.

135.

319

Westphalian

Wiligelmus,

277.

Aphrodite),

{see
136;

Medici,

276,

214.

Sir

Wiedewelt,

Vincenso,

Venus

de,

Glaus

401.

405.

Westmacott,

Harry

180.

Alexander,
F.,

Whitney,

315.

Vecchietta,

379.

Adolph

century,

362.

394.

350.

Marion

Werve,

255.

Vallmitjana,

Quincy

f.

383

Henry,

Wells,

John

Levi,

F.,

Weinman,

de,

386.

392.

Weidenhaupt.

403.

Juan

Edward,

Peter,

Weekes,
Valenciennes,

27.

25,

George

WatU,

26.

Joban

330.

325.

Wagner,

Warner,

29.

Ur-Nina,

405.

dc,

297,

Vulture-stele,

Adams,

29.

at,

de,

A.

Wade,

Unkei,

Ur,

Mrs.

Vriendt,

59-

statues,

63.

Ulacrino,

Bessie,

Vonnoh,

Vries,

387.

Egyptian

of

Types,
7,

Giovanni

276;

375.

America.

88,

89.
373.

90,

91.

of

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