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
the
are
formed.
per-
over
sticks
model
fastened
in the
it and
is then
bronze
the
then
are
from
away
of
is
sand
which
is removed
bronze
the
mould
which
supplied
the
for
the
pins
pieces.
with
of
(and
surface
in
the
and
mould
is made
stuffed
pieces
of
cast
desired
that
the
Then
the
off
earth
loamy
sand
off, that
pared
but
filling
bronze
mould
and
together
heat).
of
the
at
mould
the
the
taken
then
the
hardened,
outer
holes
in,
poured
is removed,
the
of
between
wax
is used,
is
put
sand,
pure
endures
and
and
is
for
vents
as
out
pins
position.
harden
to
treatment
process
serve
runs
has
necessary
model,
pieces
metal
ix)ssible)
as
any
the
the
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
Then
etc.
to
core
they
tubes
mould
is
inner
that
bronze,
Various
enough
strong
are
perdue
recent
not
frequently
in-
prepared
Bronze
which
exposed
3r
AesLT
has
to
the
bluish
In
green.
and
x)
that
[odern
by
composition
has
been
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
In
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
short
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"
and
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
The
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
grea
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
the
form
him
has
The
of
other
by
cord.
palette
the
knees.
symbolized
by
the
his
bringing
fallen
enemy
to
the
down
about
an
sunk
already
of
is
mies,
ene-
head
The
ing
hangchurdt,
is
king
Kunalieerkt
companied
ac-
carries
his
sandals
and
heads
two
enemies.
The
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
are
to
was
the
be
fleeing
are
the
bodies
is
king
resented
reptempt
at-
any
The
anatomy.
or
clearly
name
below
of
muscles
tween
be-
king's
and
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
upon
wearing
Egypt,
the
breaking
reverse
king,
Upper
with
is
the
sion
depres-
of
rows
king,
trampling
On
{Fig.
two
the
bull,
circular
The
high
At
slab,
and
foe.
of
the
they
by
and
at
are
that
his
by
enemies.
decapitated
wall
objects
Above
preceded
gazing
rubbed
means
by
followed
king,
no
framed
standard-bearers
shape
been
certain
by
quadrupeds.
sandal-bearcr
is
which
in
similar
other
suggested.
purpose
palette
the
official,
is
length.
m.
have
is
may
several
it
though
curious
four
This
depression,
face
period,
in
0.742
circular
the
and
time.
the
slate,
painting
hence
used
them
is
of
art
this
of
part
palettes,
two
the
early
gray
front
for
were
of
of
light
the
the
to
example
used
ground
or
as
belonged
piece
pigment
have
thin
rather
In
to
SCULPTURE
dently
Evi-
impossible.
understood
and
in
this
he
has
been
successful,
There
no
lack
of
liveliness,
are
for
the
faults
many
and
the
action
king's
work
in
but
drawing,
is
not
be
cannot
without
terpreted.
misinthere
delicacy
is
lemselves.
le
re
is,
It
the
time
of
fully
developed.
and
uiiies
lutcr
ui
suiuptuic
aireauy
pyramid
is
Deginn:
the
under
however,
great
This
Art.
were
for
place
religion,
the
The
over.
have
need
and
of
body
leeds
of
of
place
hildren,
placed
of
in
body
it
IS
the
was
possible.
made
of
Since
the
and
essential
The
reliefs
that
all
result
is
walls
whi
these
thin
of
were
cover
take
resemble
remarkable
scen"
to
were
the
the
wc
hunting
to
th*
deceased
statues
they
in
things
the
animals,
were
coi
Statues
the
the
who
other
of
and
woi
Moreover,
of
servants
it
placed
themselves.
tomb,
like.
and
and
relief
in
the
he
the
of
relatives.
things
and
mutations
and
the
i"
destruction,
those
likenesses
body
likeness
af
to
the
from
companionship,
and
cannot
that
therefore
deceased
enjoyed,
the
be
to
it
gn
continued
therefore
and
Ka,
their
food,
had
so
body
likenesses
:hose
double)
or
destroyed,
the
that
so
believed
preserved
were
of
iused
;,
the
carefully
he
sculpture
soul
had
tenets
Egyptians
terrestrial
(the
Ka
its
of
one
of
development
issed
id
but
th"
accoi
an
"
ptian
Kii
that
builders,
the
not
Old
ser
place
origins
develo
EGYPTIAN
oatuial
religion,
to
caused
lack
his
conventions
had
they
of
technical
el
Beled.
Sheik
when
especially
the
after
long
SCULPTURE
to
ceased
be
to
controlled
be
retained
imposed
the
in
Sheik
the
el
The
of
realism
This
is
in
the
The
feet
of
rest
The
formed
rock
of
metal
them
in
additional
which
is
staff,
This
was
the
fine
of
fine
therefore
now
has
lacks
it
is
already
holds
pieces.
the
the
to
passed
the
sculpture
In
painted.
finish
remarkable
its
the
'^'
-^^^'''
prime
of
In
'^'^'
condition
present
by
life,
the
the
The
has
round,
the
and
the
artist,
thin
stucco
engraved,
were
portraiture.
of
and
surface,
linen.
intended
piece
the
with
covered
the
"'"''^
complete,
smoothly
of
when
stucco
then
left
covered
details
was
the
two
and
glued
whole
made
and
was
fine
of
form
are
visible
wood
linen
coat
bent
new
are
which
and
of
not
they
arms
made
was
statue
last
is
them
plates
pieces,
separate
fasten
give
;
of
The
the
polished
to
to
edges
eyelids.
arm,
in
thin
the
bronze,
for
is
also
of
pupils
crystal,
with
dition
con-
pieces
brilliancy
framed
the
was
serving
and
called
statue
found.
with
which
knob,
the
by
the
the
of
quartz
of
centre
in
it
consist
white
opaque
the
but
is
which
eyes
of
Ke-oper.
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
(village
at
tomb
admirably
Beled
museum
practised
skill.
is
Kingdom
hood,
priest-
and
upon
"
Old
by
the
statue
yet
even
who
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
the
long,
rising
as
almost
or
body,
to
was
royal
pity.
even
his
point
broad
at
the
very
the
ecution
ex-
keen
vation
obser-
of
part
scribe
the
aid
was
his
in
by
merely
records
the
one
"
master
not
ways,
tist.
ar-
clearly
intelligence
could
down
the
careful
most
man
of
parts
most
of
of
his
sales.
of
the
4),
who
Old
keeper
of
His
head,
back,
the
linen,
rather
flat
all
some
thing
some-
or
his
defects
clumsy
short,
that
whatever
personal
his
are
of
person
But
palace.
is
Kingdom
was
reproduced
sculptor
flattery
unwieldy
he
the
in
sort,
the
importance,
without
(Fig.
Knemuhetep
importance,
of
portrait
badly
are
especially
show
various
remarkable
with
the
s^nificant
more
This
Another
feet,
but
on
his
The
present
and
writing
that
appearance;
head,
and
words
lips.
and
unnatural
purchases,
ready
statues,
designed
his
ing
look-
case
Egyptian
who
the
master,
often
the
yellow.
on
very
the
nude
women
by
down
is
crops,
the
of
his
from
as
or
for
apparently
to
take
fall
dictation
limestone,
seated
scribe,
up
his
of
represented
ground,
a.
more
portrait
complexion
The
taking
the
is
color
being
to
position.
is
delicate
more
well-to-
imagined.
the
was
Face
sensibilities,
characteristic
red
the
delicate
his
be
hardly
Louvre
figures,
nourished.
well-fed,
of
man
and
Equally
the
well
good-natured,
himself
brownish
the
can
Portraits.
SCULPTURE
not
of
sure
"
of
portrait
Other
of
say
person,
who
one
to
those
are
contented
and
do,
is,
OF
set
legs,
on
before
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
of
found
was
far
not
the
is
life
carved
of
statues
bare
with
hood
(called
times
by
the
in
Quwn.
adds
This
the
and
head,
the
to
aspect.
serpent,
uneus
from
rose
once
of
ders
shoul-
the
which
hia
sides
the
at
to
The
and
which
over
dignity
MuKum
Coptic
front.
width
Boaton.
modem
the
falls
is
royal
in
out
and
the
it
klaft),
stands
Myceritius
is
as
others;
name
the
"
head
covered
or
with
are
hb
wig,
covered
6.
from
but
not
case
slate.
king
the
whose
with
of
attitude
distinguished
not
preserved,
group
fourth
the
clothing
others
PionRR
to
fect
imper-
In
dynasty.
is
have
the
tools
is
hard
indeed
with
in
is
green
must
difficult
and
and
very
which
carve
little
dark
stone,
mids.
pyra-
size,
in
diorite,
great
Ghizeh,
at
It
been
the
from
above
of
portrait
band
the
head,
fore-
off.
The
above
Fine
is broken
Ana.
beard
king
wears
called
a
,
the
Osiriac
Horus,
god
as
the
if
to
hawk)
beard,
in
the
form
the
protect
is
as
not
another
of
of
symbol
his
king.
This
regular
part
sacred
hawk,
last
of
his
detail
the
royal
royalty.
spreads
(the
type
his
The
wings
of
presence
of
statue,
EGYPTIAN
attributes
various
but
identified
throne
The
front
of
On
and
Upper
little
It
of
is
is the
of
the
are
as
the
gods
of
that
less
bulky
they
almost
are
to
the
of
their
the
the
of
his
Bronze
Early
the
King
Pepi
of
the
is
The
and
beaten
into
Even
and
is not
to
be
forms,
exact
then
shape
the
leaving
in
vogue
A
is
manner
and
pyramid,
the
Old
metal.
dom,
KingIn
the
representing
Menthesuphis.
son
but
it
or
materials
this
preserved
laid
of
feet,
of
copper,
sure,
were,
copper
the
history.
as
his
well
so
fact,
attached
harder
of
of
dynasty,
of
early
statues
two
in
are
to
out
Ghizeh.
workers
skilful
they
third
at
as
"
corroded,
the
the
block
the
in
found
was
sixth
desired
of
for
separating
Egyptian
executed
The
Egyptian
it continues
seen
age.
statues,
to
of
builder
are
king
groups
portraits
were
the
and
Egypt
type
custom
is extended
which
sheets
the
length.
other
probably
from
The
person.
of
of
shoulders
periods
Statiies,
I, of the
which
perfect.
6),
Cairo
statue
prince,
royal
Egyptians
at
museum
figures
to
standing
the
support
Mycerinus,
(Fig.
queen
entire
various
of
example
group
seated
to
throughout
fine
as
from
stone
age
from
reliefs, for
high
as
the
and
entirely
Many
like
but
stone,
the
representative
number
refrained
statues
classed
background
even
often
their
from
strong
very
of
portraits
Chephren,
greatest
carved.
be
background
and
The
of
royal
change
the
the
of
little
far
were
to
all
and
that
man
the
of
expression
feels
portrait
sovereignty,
union
the
and
is calm
king
merely
lions'
lotus
the
yet
of
of
One
is not
one
sculptors
throughout
even
this
with
parts
which
who
Not
as
the
and
simply
of
is not
the
reason
of
the
at
shape
typifying
face
protection.
stalks
character.
not
king,
which
consist,
statues
with
The
but
the
is
king
heads
lions'
have
sam,
personal
earth.
on
impressive
limestone
symbol
embodiment
is preserved
here
of
of
feet
its
the
especial
has
expressionless,
not
portrait
but
men,
the
portrait,
sits
is decorated
it
purely
their
Egypt.
is
It
is under
and
seat
with
to
or
that
show
employed
Chephren
side
Lower
powerful.
statue
gods
the
one
and
papyrus
are
which
upon
comers
claws.
has
the
with
SCULPTURE
as
still
statue,
of
the
wonderfully
in
cast
seems,
upon
that
core
after
of
proximately
ap-
wood
which
10
fflSTORY
details
of
naturally
the
el
Beled
and
the
is in
portraiture
The
of
line
drawn
the
the
when
Even
grinding
Egyptian
or
in
busy
heads
which
poises
turned
directly forward,
turning
in
their
of
spite
their
beJiding,
or
Egyptian
it
gives
in
statues
in
the
the
in
tion.
posi-
same
dough,
the
represent
of
frontality,
with
the
of
This
immobility,
and
expression
law
is
centuries
retained
in
Egyptian
of
industrial
of
face
without
straight,
and
chiefly
being
that
to
aspect
long
into
occupation,
body
feature
navel
kneading
neck,
is advanced
and
in
the
an
works,
small
some
foot
law
execution.
through
left
The
the
keeps
the
parts
attempt
any
upon
realism
technical
statuary
Only
art.
evenly
great
masterly
from
and
two
active
attitudes.
free
the
extended,
other
the
statue
represented
some
refrains
even
all
is
that
the
always
not
are
person
sculptor
contorted
partially
arms
or
corn,
is
two
the
figures
so-called
and
divide
the
of
such
are
bone,
between
Sheik
exhibited.
the
postures
would
standing
arm
the
figures
and
the
skill
statues
breast
the
nose,
differences
in
one
the
of
shown
quality
technical
these
all
;
line
only
sometimes
seated
the
that
fact
In
"
the
the
of
that
to
artists
and
the
to
observed
is
the
Chephren,
inferior
way
straight
halves,
to
and
no
through
be
due
of
frontality
would
equal
statue
equal
by
stone
were
forms
youthful
mastery
and
of FrontcUity.
Law
law
with
wood
of
working
The
and
in,
set
were
eyes
materials.
reproduced
are
in
other
SCULPTURE
The
engraved.
were
prince
OF
is
art,
abandoned.
Reliefs
the
of
but
projects
beyond
the
carved
in
the
done
The
later
surface
in
low
of
periods
are
the
from
the
like
Old
the
the
of
soul
walls
all
scenes
after
and
and
the
death,
daily
the
project
not
seals,
in
of
from
usually
surfaces
Egyptian
tombs,
subjects
life, the
trials
in
various
is
art.
those
The
gods
at
figures
but
similar
periods
temples.
from
do
low
diately
imme-
occasionally
and
come
always
only
away
latter
figures
Kingdom
tombs
the
sculpture
it is
is cut
stone,
throughout
portraits,
of
that
so
decoration
relief
reliefs
of
intaglio,
sculptured
background
background
figures,
relief
Egyptian
"
the
from
the
the
about
are
Kingdom,
slightly
Sometimes
relief.
all
Old
of
sented
repre-
and
periences
ex-
group-
EGYPTIAN
and
ings,
the
the
from
cattle,
to
the
the
life
may
the
figure
The
the
fiat
the
with
the
but
modelled
of
part
and
vigorous,
hand
dwells
the
to
his
that
beauty
lines.
Even
in
images
glyphic
hieroin
held
Instruments
in
the
and
inscription
writing
his
and
see
the
perfect
small
the
on
Evidently
create
in
trace
hesitation
trained
to
slightest
artist.
was
eye
the
or
the
The
delicacy.
not
timidity
size.
not
are
clear
is
surfaces
are
betraying
7)
nevertheless
are
utmost
outlines
the
in
the
FiauBi
hand
of
the
In
care.
of
three
the
the
sixth
two
seated,
being
next
of
statues
while
register
personify
of
dynasty
register
servants,
tomb
the
the
Panel
Wooden
the
who
which
this
is
the
of
Hetiy-re.
we
we
are
sledges
contribute
by
the
honor
one
and
sons
incense.
burning
in
upper
and
his
by
under
the
standing
of
part
lived
in
see
told
of
who
one
is
man
is
(which
masterpiece.
Ptah,
deceased,
on
panel
decoration
of
Here
along
each
is
priest
8).
women,
villages
work
Sabu,
dragged
before
alike
tomb)
relief
of
Tomb
utmost
same
(Fig.
the
tails
de-
execution
in
example
of
the
and
found
Another
wall
with
design
the
figure,
chief
wrought
are
7.
"
from
one
ing
pertain-
scenes
chief
life
but
lifeless,
or
of
half
low,
figure
of
under
(Fig.
than
is
number
driving
height
The
panel
less
relief
of
the
sculpture
this
little
harvesting,
Saqqara,
dynasty.
on
scenes
the
from
at
relief
third
dead,
the
to
fishing,
limited
illustrate
to
by
offerings
Kingdom
Old
hereafter.
Hesy-re,
serve
attained
and
the
During
hunting,
panel
of
tomb
kings.
only
as
like,
wooden
such
life,
and
the
virtually
are
daily
of
exploits
subjects
11
SCULPTURE
In
the
inscriptions
of
the
dead.
12
animab
bringing
are
Below
this
the
one
OF
and
butchers
register
in
HISTORY
the
are
is
mast
fruits
cutting
are
scene
the
SCULPTURE
the
the
up
of
ships
the
field.
In
the
of
carcasses
and
deceased
in
the
the
third
animab.
on
raised,
being
of
other
a
Nile
monkey
a"iv!
^'^^
is
the
him
list
walking
deceased
his
of
the
on
deck
sits
flocks
them
at
and
on
of
the
herds,
tablet.
the
left
cabin.
end,
and
No
In
while
his
crouching
single
figure
the
lowest
register
leads
son
scribe
here
toward
writes
is
quite
the
as
fine
the
as
figure
excellence
of
Conventions
all
works
added
the
of
colored
work
In
also
with
the
the
not
when
characteristic,
and
of
and
legs
interest
The
in
clearest
the
the
point
earliest
clear
in
artists
other
any
result
is
view
of
the
L6wy
is
from
no
important
because
way
but
doubt
to
of
factor
was
the
in
is
the
of
fact
that
and
case,
almost
in
Nature
the
therefore
but
from
the
draws
wish
the
to
first.
make
if
as
seen
by
meaning
later
in
and
paintings
part
his
the
as
of
that
would
he
intention
front
view
draws
as
ages
The
fine
so
ArO
artiat
each
being
their
profile
Greek
Early
human
from
usually
primitive
the
from
tradition.
the
to
workmanship
make
transition
trunk
and
nothing
followed
reliefs
Egyptian
silhouette
is
was
and
back,
characteristics
followed
habit
by
figures
memory,
the
it
the
part
its
not
of
the
seen
each
out
feet
or
the
method
could
they
^
Rendering
peculiarities
but
this
especially
the
(The
brings
and
silhouette,
or
there
show
to
the
attainment
when
presents
which
shoulders
legs, though
these
shoulders,
manner,
view
the
unnatural,
are
the
front,
legs
of
hand,
artist, wishing
the
front
true
other
established
that
is
same
Undoubtedly
convention
an
of
the
the
of
possible
plainly.
most
on
outline
Eg}T)tian
the
from
the
in
side.
feet;
the
represented
are
outline,
from
seen
Kingdom,
is the
The
clearness.
possible
head,
the
of
method
the
tions
conven-
the
and
of
Old
from
seen
front,
this
of
purpose
human
the
the
from
seen
The
greatest
of
as
as
eye
that
the
certain
the
beings
Human
the
profile,
in
also
times.
period
so
that
than
of
ture
sculp-
however,
instances,
paintings,
in the
only
not
in
as
reliefs
than
are,
important
that
the
rather
some
the
say
that
"
surfaces
in
more
well
as
later
head
profile.
the
clearly
reliefs,
in
shoulders
in
is
observed,
are
The
for
almost
might
the
to
as
not
were
sculptor
least
at
it
nearly
colored,
well
as
coloring,
the
by
painter.
treated,
painter.
but
the
by
sculptor's
This
outlined
paintings
if
we
the
to
like
originally
whole
fact,
surfaces,
secondary
was
exquisitely
In
the
general
same
reliefs,
were
the
of
clearness
of
These
"
sculpture,
appearance.
modelling
carving
were
is
the
to
brilliancy
delicate
Art.
of
the
prevails.
line
of Egyptian
Egyptian
which
and
modelling
but
tablet,
wooden
the
on
13
SCULPTURE
EGYPTIAN
the
one
attribute
not
from
ture,
na-
remembers
clear
it.
is
also
14
HISTORY
that
notices
hardly
So
effects.
horns
the
cattle
equal
are
illustrated
works
exhibit
less
the
but
best
artists,
local
various
periods,
VII
in
was
three
were
no
earlier
the
and
before,
this
to
such
certainly
interest
but
which
the
here
though
demand
out,
period
may,
condition
and
there
in
and
as
of
art
at
was
really good
some
that
of
earlier
which
than
belong
that
show
local
some
regarded
as
ences,
differa
stationary,
have
may
of
not
are
They
work
of
times.
less
works
best
little
quality
much
was
be
court.
made
the
known,
whole,
of
those
established
but
exhibit
but
practised,
general,
to
nearly
for
as
attention.
later
dynasty
splendid
These
they
to
the
sixth
conventions
now
our
of
resources
created
small.
fact,
"school"
art
be
so
art
number
die
not
this
the
in
are,
the
to
and
works
relatively
to
as
did
sculpture
is
of
maintained,
of
the
about
more
condition
rule, inferior
number
epoch,
and
and
sculptors,
the
maintained
were
as
was,
end
such
traditions
period
workmanship
Probably
who
sculpture,
The
progress.
the
in
time
the
had
the
of
Kingdom.
continued
who
or
Old
of
beauty
works
word
to
disturbed
Art
kings
this
less
or
monarchs
no
During
After
years.
Memphite
or
more
hundred
there
in
the
the
any
the
applies
of
"
of
Other
distinguished;
differences
use
remark
X,-
to
say
Thinite
court.
be
in
and
the
less
provincial
local
the
that
to
and
can
to
The
warrant
as
the
of
in
as
royal
followed
be
necessary
This
well
Dynasties
Egypt
be
to
as
as
those
not
them.
designate
is to
art
in
the
near
or
peculiarities
schools.
such
hardly
the
of
it will
dom
King-
mentioned
then,
was
but
front..
Old
the
been
workmanship
in
local
not
the
from
of
have
art
at
skill
some
progress
therefore
found
be
to
and
best
The
before,
side,
the
seen
works
the
which
those
to
period
all
Not
if
as
trayal
por-
similar
"
above.
design,
represented
with
from
seen
the
In
observed
are
always
are
are
Differences.
impossible.
are
conventions
quadrupeds
of
Local
attitudes
the
similar
of animals
SCULPTURE
OF
time
even
been
accomplished.
The
Middle
Middle
once
Kingdom
more
With
Kingdom,
rich
begins,
and
the
"
and
splendid
for
three
court,
eleventh
dynasty
centuries
though
there
the
power
the
was
of
16
Middle
Egypt.
in
old
the
less
OF
The
result
methods
skilful
the
HISTORY
but
of
the
influence
and
accuracy
independent
more
development
of
SCULPTURE
of
of
which
i_i:aMLJ^|;:]HE!;
Iftii
-^
the
upon
of
sculptors
school
trained
refinement
fine
artists
Thebes
was
produced
works
technical
execution
of
somewhat
differing
from
the
works
the
Old
created
under
Kingdom.
stand
somewhat
out
from
more
liefs
Re-
the
and
ground,
back-
the
tudes
atti-
represented
occasionally
are
less
ventional.
con-
Portraits
kings,
too,
the
of
than
latter
those
period.
The
of
portrait
twelfth
good
III,
the
of
of
dom
KingThe
9).
and
dress
head-
the
those
attitude
which
had
are
Old
Kingdom,
face
shows
youth.
in
Relief
from
the
later
the
sphinx
same
life
vidual
indiof
the
the
the
peculiarities
10.
the
but
all
represents
come
be-
under
tj^jjcal
FiouKE
ture
sculp-
Middle
(Fig.
is
dynasty,
example
royal
the
Amenemhet
youthful
the
the
of
part
Memphite
of
ized
ideal-
therefore
are
natural
more
less
are
and
of
arch
mon-
and
with
Tomb
"
of
Menthu-weser.
New
Metropolitan
Miueuin,
the
of
by
which
and
dignity
grandeur
York.
the
physical
symbolizes
greatness
the
royal
and
power.
strength
The
his
station
emphasized
of
lion's
relief
the
of
the
body
funerary
EGYPTIAN
Menthu-weser
stele
of
relief
work
(Fig.
eleventh
of the
17
SCULPTURE
10)
serve
may
The
dynasty.
as
of
example
an
"
deceased
domain
a
,
who
superintendent"
seated
represented
somewhat
is
and
liveliness
and
The
delicacy.
the
the
the
Old
of
beauty
the
it must,
the
masterpieces
art
The
Empire.
Middle
abundant
Theban
and
the
eighteenth
first
into
practice
Kingdom
the
had
great
shown
the
some
plainly
scribe
Egyptian
the
throughout
is
the
had
colossal
not
made
to
the
with
dimensions
of
the
than
the
life
Old
life, and
pyramids
appealed
the
foreign
new
of
days
larger
mention
but
expansion
brought
country
in
difference
Kingdom,
intercourse
been
"
little
be
the
the
becomes
monuments
that
second
with
begins
Middle
dating
the
With
art
is not
of
difficulty
to
Even
arts.
of
material
the
the
followed
progress
which
seems
clear
Ghizeh
that
the
of
of
of
The
exist.
increased
statues
at
such
crouching
because
of
there
prosperity
Sphinx
inferior
are
in which
said.
partly
those
it
of
be
number
and
the
the
theless
Never-
immediately
Empire,
sight
works
and
with
produced
the
which
which
the
power,
sessed
pos-
tion
tradi-
of
spite
who
continued
account
on
called
peoples,
the
traced,
examination
Egyptian
is to
monuments
At
these
closer
little
dynasty,
great.
period
the
partly
period,
between
Of
"
They
they
moulds
it
under
existence.
accurately
accurately
very
its
Kingdom
be
cannot
on
of
which
following
details.
that
or
the
dently
Evi-
associated
of
all
care.
in
because
Beled
less
and
while
itself
Kingdom
fashioned
in
tender
conceded
el
greater
fine,
very
treatment
Old
Sheik
and
centuries
be
the
of
who
formed
was
the
and
shows
careful
general,
the
as
Louvre
long
in
artists
great
of the
and
technique
of
imitators.
attractive
more
shortened,
fore-
established
slavish
Old
somewhat
of
conventions
which
the
one
Kingdom,
not
were
originality,
is
also
and
Middle
and
Kingdom,
and
minute
the
traditions
some
to
with
of
is
is
relief
extent
some
is, however,
modelling
artists
to
and
The
under
produced
nature,
king,
offerings.
is
effect
to
wrought
are
shoulder
the
nearness
of
the
for
customary
was
right
that
lands
table
than
the
so
closely
before
higher
Kingdom,
details
administered
"
strongly
FH(ade
11.
of
Great
Roek-bewn
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.
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
Etruscans
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
though
and
ophagi
of
are
tations
of
and
types,
abylpnian
influence
zy
of
of
at
'
the
J.1
them
of
and
time.
Of
J.
siz
are
:-j.
tdh
ex
Egyptian
of
date
ant
sculptui
others
degree
the
ci
their
while
The
Assyria
relief
mixture
upon
ware
of
whatever
work,
motives.
or
of
ivo
glazed
the
Some
show
many
them.
number
interest.
Egyptian
var
terra-cottas,
of
objects,
depends
Egypt
bronzes,
examples
these
made
among
considerable
few
great
any
not
etc.)
a
of
Few
St.
small
scarabs,
faience,
also
They
were
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
neither
were
Cyprus
quite
of
have
much
as
early
Cypriote
virtually
are
round
upon
of
of
in
the
Ptolemaic
and
Assyrian
in
the
to
art,
art,
In
other
and
them.
but
coarse,
earliest
the
it
the
be
called,
or
in
and
to
cotta
terra-
especially
them
of
remains
relief
utensils,
traces
times
mainland
may
in
in
other
inhabitants
But
beasts,
parts
But
on
sculpture
native
because
the
neighbors
appear,
conveniently
original
modelled
Assyrian
in
the
which
terra-cottas
are
established.
eighth
fuller
had
than
is
begins
the
influence
appear
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
Assyrian
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
his
in
careful
the
the
pearance
ap-
the
raising
achieved
the
so-
"
smile
is
impressive,
not
"
intention.
at
mass
type,
life
expression
Aeginetan
of
especially
give
of
ture
pos-
the
on
to
part
In
it
face
attempt
an
latter
neck
in
the
in
This
heavy
unusually
is
at
now
B.C.
details,
it
too,
the
the
and
of
knees,
found
arrangement
of
execution
the
"Apollo
Munich.
the
in
of
the
century'
example
an
means
and
in
of
no
36),
at
dated
and
is,
is
Corinth,
sixth
the
works.
by
(Fig.
be
fifth
primitive,
Glyptothek
may
type.
belong
the
and
most
near
the
admirable
best,
Tenea"
nature
tury,
cen-
examples,
earlier
of
of
nical
tech-
to
which
already
the
that
in
of
part
the
In
clear
truth
examples,
are
One
is
prevalence
later
the
in
or
which
advance
great
have
carved.
it
however,
there
tor,
sculp-
from
be
to
the
shape
block
was
general,
the
the
by
to
to
sometimes
may
of
is,
part
of
ference
dif-
to
part
in
to
part
(that
and
which
The
in
preference
individual
the
in
"school"
taste),
local
due
date,
of
to
be
may
Figures
of
this
type
PREHELLENIC
THE
formerly,
were
still
called
that
the
It
victors.
of
then
such
is unknown
as
The
and
is
side
informs
letters
indicate
is
statue
long,
thick.
bottom,
where
are
are
now
and
There
the
continues
is little
fiat
it
the
about
surfaces
the
from
came
sculptor
figure,
the
so-called
dedicated,
Cheramyes.
of
the
remarkable
as
but
it
the
drapery
statues
peculiar
that
is
different,
very
seem
manner
are
to
the
to
due
change
Samos,
indicate
the
of
statue
show
that
of
treating
by
the
Hera
this
fine,
roundness
drapery
living being.
the
that
Another
were
Louvre,
a
the
figure
is
by
was
certain
middle
quite
folds
features
of
Other
lines.
form
as
Nicandra,
The
of
slab
which
form,
about
parallel
falls
shoulders.
by
flat.
not
the
Egyptian-
the
the
dedicated
cylindrical,
represented
fact
date
the
are
materially.
to
a
shape
of
in
resent
rep-
hair
the
over
now
it
as
near
its present
states,
The
slight swelling.
of
the
the
sides
The
one
to
of
wide
as
the
form
remind
its
by
thicker,
locks
to
The
of
becomes
by
at
on
forms
projections
nearly
of
letters
century.
at
had
inscription
The
sixth
figure
Hera
its
as
this
found
century.
broken)
in
well-marked
the
twice
almost
in
primitive
Artemis
about
obliterated.
unable
was
entirely
carved
sixth
nearly
quarry
from
animation
was
to
indicated
probably
are
the
in
suddenly
head,
it
most
and
formless
hardly
the
type
Naxos,
(now
two
stone
breasts
from
klaft,
as
the
features
outward
Its
arms,
The
The
and
well
place
and
inscription
marble,
cylinders
of
dedicated
was
of
statues,
may
making
female
An
early
slab
flat
Upright
the
feet.
date
One
from
Nicandra,
human
nude
variety
"
draped,
it
but
first
by
certain
It
the
is
type
art.
Type.
that
us
named
woman
Egyptian
Athens.
in
now
later
once
it
other
rate
commemo-
god,
no
in
give
to
standing,
to
up
the
it
it at
Draped
the
of
examples
is
in
Standing
Delos
borrowed
proceeded
the
developed.
were
transformed
they
and
men,
for
is, however,
set
that
type
and
and
represented
this
Greeks
it
were
and
from
nudity
type";
61
PERIODS
Apollo,
statues
and
the
but
nude,
left
is
gods
that
Egypt,
these
victories
athletic
their
represent
"Apollo
of
many
both
to^
ARCHAIC
of
account
on
supposed
reasons,
be
AND
and
of
the
tVv^
style
Samian
the
habit
block
the
was
the
by
four
the
Greek
figures
representation
Seated
The
draped
Type.
been
borrowed
seated
from
Greeks.
type,
have
arisen
chidae,
sacred
of
the
from
Figure
BraDcbidae.
British
142.)
distressing
less
with
treated
in
their
three
The
those
as
early
Greeks,
were
virtually
as
the
round
in
the
Egypt,
only
of
or
statues
in
the
to
sea
are
now
The
almost
little
present
life.
of
or
The
exactly
not
the
these
types
and
are
Egyptians
types
of
and
sculpture,
which
relief, admits,
naturally,
and
even
but
folds
are
probably
were
with
color.
the
substantially
and
their
as
the
among
derivatives
employed
statues
ures
fig-
alike,
the
enlivened
above
by
different
the
defects
were
substantive
sculpture
decorative
These
described
employed
works
in
the
of
flatness,
regularity.
types
same
from
excessive
when
noticeable
the
heavy,
and
drapery
is
all
is
from
led
seum.
Mu-
(Bninn-Bnickiiuinn,
it
the
Museum.
appearance
no
beside
They
are
clumsy,
Seated
"
sixth
Bran-
at
Apollo
British
statues
37.
that
37).
(Fig.
the
Miletus,
road
temple
of
found
were
near
ples
exam-
approximately
middle
century,
Figure
good
it, dating
the
from
the
among
Several
of
62),
closely.
natural
therefore
may
of
(page
very
is, however,
may
type
Pharaoh
spontaneously
in
type
it resembles
and
practise
Egyptian
seated
It
parallel
to
draped
the
which
of
began
"
the
"
not
form.
human
The
Draped
have
perhaps
the
square
these
drapery
number
artists
from
as
of
folds
"
of
of
edges
excessive
an
resulted
such
with
the
that
roundness
making
in
marked
or
the
equally
cylindrical,
lines
engraved
off
It
all
at
SCtn,PTURE
Possibly
cutting
too
or
marked
OF
art.
marble.
fiat
too
of
of
of
HISTORY
dependent
in-
as
distinguished
whether
demands,
it
much
be
64
also
were
Of
with
Delos
at
inscription
of
names
said
A
wings.
have
to
he
the
first
in
details,
it
ia
figure
the
shoulders
smaller
of
from
small
much
female
and
is
Athens,
school
(Fig.
known
"
of
the
apparently
were
series
draped
of
chiefly
ascribed
38)
which
of
works
found
figures,
but
are
several
and
the
edly
undoubt-
type
artists
the
ankles,
The
prized,
this
also
are
the
bronzes,
Chian
early
of
from
were
this
preserved.
of
hair,
as
to
details
an
the
rose
which
attached
and
Unfortunately
gone,
wings
these
the
once
are
found
execution
of
which
represent
mentions
careful.
very
wings
are
to
The
especially
tor,
sculp-
motion,
rapid
Archermus.
B.C.
statue
with
belongs
540
was
fragmentary
figure
and
about
that
been
somewhat
probably
Mikkiades
lived
except
winged
which
named
nothing
is
represents
SCULPTURE
last
know
we
Archermus
Victory
OF
The
sculptors.
Mikkiades
but
HISTORY
the
to
These
Delos
at
Chian
figures
sent
repre-
in
holding
hand,
one
flower
while
up
Figure
of
the
Chinn
all
are
they
execution
These
works
evidently
and
have
show
delicacy
influence
upon
where
Chian
sixth
century.
Archaic
seem
to
of
their
the
were
The
"
lost
work
artists
artists
Reliefs.
have
the
how
other
employed
remains
They
but
school
passed
with
conventionalism.
and
the
the
artists
end
of
however,
places,
in
of
the
sixth
accuracy
good
very
of
Athens,
second
half
of
reliefs
which
especially
the
were
the
The
originality.
exerted,
of
holds
joined
before
all
tribute,
at-
fragmentary,
beauty,
but
trained,
hand
inventiveness
certain
stretched,
out-
other
garment.
over-elaborate
an
carefully
they
century
to
the
is
some
other
somewhat
from
careful
of
and
clad,
which
or
the
corner
School.
richly
women,
young
the
once
THE
PBEHELLENIC
adorned
the
erected
about
there
as
of
columns
is
is
full
in
seen
the
of
the
refined
show
and
the
several
called
Tomb,
Harpy
PiavRi!39.
of
best
in
now
interesting
and
metopes
show
the
elegance
which
of
is
the
Museum.
in
frieze
pecially
es-
of
Siribniaos.
the
so-
An
the
at
Tre:uury
in
decorations
of
British
less
works
toward
art
but
fine,
technique
date,
are
exhibit
is
Numerous
found
the
Gmupfrora
Ephesus,
of
same
known
is
work
frieze
Ionic
the
example
Pediment
the
these
the
tombs,
B.C.,
vigor.
Among
Lycian
century
The
about
tendency
sumptuousness.
at
delicacy
figures.
greater
general
Artemis
The
such
no
of
but
sixth
forms.
Chian
Assos,
at
the
and
vigor,
technique,
relief
of
65
PERIODS
of
temple
rounding
best
temple
the
middle
and
lack
of
the
with
figures
ARCHAIC
AND
the
Di^phi
"
of
treasury
at
the
This
Delphi.
the
front
the
maidens.
by
frieze
giants,
the
fourth
the
that
time.
of
the
supported
by
battle
off
which
and
the
Heracles
was
erected
sculptures
show
Ionic
The
work
(Fig.
39)
and
garments
hair
action
is
well
the
portrayed.
art
is
are
as
for
end
it
the
of
was
and
the
the
sacred
the
sixth
developed
in
and
carefully
When
the
In
occur.
lacking
not
the
and
gods
struggling
near
in
Leucippus,
horses
and
are
the
of
daughters
chariots
encircled
was
heroes
of
of
figures
two
Homeric
battle
At
square.
building
of
the
of
building
its
nearly
the
Cnidians)
the
to
buikling,
architrave
divinities,
in
This
details
wrought,
seated
carrying
and
century
was
the
Apollo
tripod.
at
entablature
scene
pediment
small
representing
of
ascribed
(formerly
was
Above
presence
Siphnians
vigor;
finely
sculptures
further
were
as
been
the
Parthenon
not
without
with
brilliant
with
this,
its
rich
SCULPTURE
the
and
the
and
Such
impressive.
shows
adornment,
the
effect
building
that
of
caryatids
the
colors,
original
the
frieze
Erechtheum
of
Cities.
Baric
in
Influence
were
in
Selinus,
Sicily,
"
and
Megara,
therefore
Dorian,
was
city
from
its
628
B.C.,
until
in
409
in
it
stroyed
de-
down
come
less
more
the
The
show
of
that
time
the
produce
to
works.
the
and
of
Apollo
The
the
(temple
temple
C),
who
other
with
relief
in
represent
four
horses
from
the
and
of
spite
the
and
attitudes,
The
in
Ionic
the
art
have
may
A
in
seen
pediment
of
the
of
been
similar
mixture
somewhat
temple
fragmentary
in
the
imperfect
the
Doric
or
of
work
in
power,
cution,
exe-
conventional
Some
details.
Ionian
an
His
is
refinement
though
present,
are
ambition
and
the
form,
over-elaboration
methods.
is
of
rotundity
the
Ionic
sculptor
traits
excessive
of
vigor
dently
evi-
was
originality.
shows
driver,
front,
man
chariot
and
seen
tempted,
at-
things,
among
to
ural
nat-
sculptor
of
metopes
after
colony
expressive,
of
tors
sculp-
long
of
earnestly
worthy,
two
the
not
foundation
tried
to
tary
fragmen-
or
condition.
earliest
of
sets
Selinuntine
have
in
was
Four
from
temples
us
foundation,
Carthaginians
B.C.
metopes
flourishing
the
by
of
of
predecessors.
Ionic
colony
OF
enriched
have
must
HISTORY
lacking.
trained
Dorian
Doric
and
sculptures
colony
ities
qual-
of
Ionic
from
Corcyra
PREHELLENIC
THE
(Fig.
40).
the
battle
of
influence
is
relief
the
time
the
sixth
of
was
Ionic
in
predominant
PeUyponnesian
the
At
in
marble,
their
whose
or
incrusted
worker.
was
said
(or
Athenian)
by
Gitiadas,
Spartan,
of
Apollo,
of
Magnesia,
Argive
at
of
Hageladas,
much
clitus,
the
belongs
probably,
worked
to
the
and
B.C.,
same
time
the
technical
Apollo,
in
or
in
is
who
been
fifth
to
chiefly
the
early
statue
said,
the
part
of
the
of
Sicyon,
earlier.
somewhat
of
at
his
by
Branchidae,
of
His
The
tjie sixth
Delphi.
at
without
the
greatest
three
and
Poly-
century
and,
following.
later
worked
belongs
Canachus
work.
Bathycles,
Minor.
sixth
Elis
throne
probably
century
of
native
the
but
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
Doryclidas,
or
the
was
in
clumsy
have
to
of
sculptors
by
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
prac-
who
bronze,
another
was
At
was
Crete,
and
contemporary
of
wood-carver
was
Daedalus.
statue
Aegean,
period.
chiefly
Tectaeus
Aegina,
been
have
to
wooden
496
of
its
it
much
archaic
oif cedar-wood
and
Aegina,
Smilis,
of
and
the
also
(or Medon),
were
gold,
of
Callon,
of
was
perhaps
Dontas
Sparta
with
end
the
communities;
islands
Scyllis,
and
ebony,
at
Doric
introduced
was
and
Dipoenus
works
pupil
art
Theocles,
pupils
developed,
the
during
the
wood,
At
represented.
highly
Sculpture
"
Peloponnese
rate,
any
Megarians
toward
the
Minor,
the
made,
in
even
Sculpture.
tradition
to
was
parallel
Boeotia.
and
Greece,
is
contest
art
Asia
of
the
too
nearest
treasury
were
strong,
very
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
bronze
represented
about
famous
statue
the
He
than
the
for
of
god,
nude,
holding
that
be
could
the
in
late
small
41),
in
of
his
statue
An
of
of
sculpture
Sicyonian
treasury
nians
the
eapwcially
famous
most
works
of
of
This
of
1811
the
seemB
and
were
make
clear
ascribed
At
to
Aegina,"
but
'
tors
sculp-
bronze.
The
but
his
dated
No
invasion.
Persian
ascribed
be
Aphaia
the
sicyon,
Onatas,
can
called
formerly
now
These
Aphaia.
in
by
the
certain
pretty
found
restored
of
be
to
the
with
statues
allow
to
us
tainty
cer-
from
form
the
ception
con-
art.
goddess
Iraitments
some
which
Siph-
is,
to
of
the
artists,
temple
and
was
after
Aeginetan
was
It
obscure
exist,
their
temple
Athena.
time
the
art.
workers
as
sculptor
the
bronze
of
pediments
"
to
the
to
of
Aeginetan
belong
works
noted
(Fig.
"
Argos
at
the
which
Sculpture.
Aeqinetan
as
of
qualities
Ionic
the
with
later,
and
Doric
of
building
treasury
different
than
Delphi.
at
somewhat
sure,
sixth
earlier
adornment
159),
(Fig.
in
front.
the
compared
the
so
fell
relief
of
this
be
may
sculptureof
were
the
from
42)
it
in
therefore
is
hair
was
of
middle
Canachus,
metope
the
Sicyonian
the
and
century,
the
of
shoulders
example
gives
idea
part
the
over
Louvre,
Branchidae
that
locks
respect
though
at
of
Piorabino
best
Canachug,
arranged
this
the
the
of
merit
from
now
the
which
chief
In
perhaps
work
of
The
statuette
(Fig.
thread
bronzes,
execution.
bronze
us
that
way
details.
fine
balanced
so
appearance
and
all
was
The
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
rest
and
the
only
in
is
by
-gently
JTcusliion
preserved
best
and
finest
the
shoulders
his
on
A\
ease/
to
bit/'
a_delightful itful
is
preserved,
appar;
ture.
interposed
weight
the
Hesperides,
entirely
are
supporting
seen
entablature.
the
almost
In
fragments.
the
of
Apples
(the
Bull)
Cretan
represented
heavens,
^the
these
of
Heracles
all,
of
representing
were
labors
twelve
the
be
to
There
date.
that
457
in
therefore
are
before
metopes,
Two
Heracles.
of
sculptures
just
years
sculptured
twelve
Its
completed
was
"
later.
little
temple
This
Metopes.
Olympia.
81
CENTURY
FIFTH
THE
-.
fof
(Behind
realism.
stands
hero
the
the
lines,
wavy
be
to
probably
heads
eyes
allel
par-
where
except
represented
of
The
here
is
smooth,
left
is
out
almost
by
represented
task.
hokls
Hair
apples.
it
his
in
Atlas
him
Before
Athena,
goddess
the
ably
prob-
figure,
female
a
helping
Heracli
by
color.
in
profile
Olympji
Teiii|"li-ofZeus.
are
view,
as
sixth
and
but
stiff,
but
details
they
of
is
The
times.
earlier
of
that
profile,
drapery
are
as
so
muscles
the
The
incorrect.
lids
the
in
"lrawn
properly
not
are
conventional
not
and
structure
the
of
reliefs
centur"',
the
442.)
Bnickrottim.
the
in
front
full
in
longer
no
figures
male
nude
the
of
well
are
reproduced.
Pediment.
Eastern
The
qualities
of
and
style
(Fig,
sculptures
pediment
preserved,
any
other
possible
details.
yet
of
exception
is
In
the
as
52),
they
clear
eastern
those
except
in
pediment
some
(p.
68),
relatively
the
than
with
groups,
Aegina
from
pletely
com-
means
no
complete
nearly
pedimental
same
important
more
by
are
more
are
far
the
These
Greek
important
composition
execution
the
much
show
metopes
"
preparation
the
their
and
unimportant
for
the
chariot
his
at
whom
he
Oenomaus
"
his
four
horses
in
each
is
all
one
each.
figures
in
each
corresponds
Western
to
the
figure
on
The
Pedimejd.
of
of
in
statues
the
action
The
central
horses
the
and
reclining
the
In
story.
of
centre
other
in
erect
and
the
order
No
the
scene
one
on
this
postures.
with
the
side
figure
in
five
groups,
seated
or
figures
quiet
chariots
indicate
corners
in
to
figure,
Cladeus.
The
other
next
crouching
follow
and
simple.
two
and
reclining
are
the
form
the
group
and
group,
attendants
the
maus
Oeno-
Hippodameia,
crouching
figure
Alpheus
the
dear
is
form
figures
gods
composition
their
male
and
right
or
more
says
river
represented
figures
nude
represented.
victory,
seated
two
Pausanias
the
are
his
stand
of
prize
chariot,
reclining
side.
corners
the
is
at
Pelops
Sterope.
a
Oenomaus
Pelops
to
as
wife
with
and
figures,
Next
win
to
with
centre,
left.
is
and
Pelops
the
occupies
SCULPTURE
OF
between
race
Zeus
HISTORY
the
ment
pedi-
side.
the
pediment
western
"
the
represent
the
of
marriage
action.
in
combat
the
and
Peirithous
At
of
the
arm,
each
at
side
the
with
left
in
the
of
wildest,
the
midst
divine
god)
striking
at
lent
vio-
most
the
of
of
the
at
at
moil,
tur-
Apollo,
arbiter
Theseus
(probably
the
Lapiths
stands
composition,
invisible
hero
the
the
scene
unmoved
centre
outstretched
Centaurs
of
and
Calm
struggle.
the
Peirithous,
very
with
of
the
right
Centaur
GREEK
who
SCULPTURE.
seized
has
of
seized
by
ground
and
then
in
Centaur
nymph,
possibly
These
recumbent
pediment
figures
the
are
other
is
of
of
the
of
full
the
in
chariots
and
of
groups
of
effect
fill the
the
attendants
three
balanced
in
The
by
and
both
pediments,
difference
the
between
by
of
each
of
and
human
in
execution
"
the
In
old
the
restorations.
and
workmanship
and
and
pupil
They
the
right
differ
from
the
the
the
in
the
material
other
exact
The
to
of
of
in
nymph
(Pcntelic
figures.
at
marble,
in
heads,
the
pediment
the
the
at
the
south
the
by
western
have
we
north
end
rest
the
details,
other
But
the
in
groups
Pausanias,
Mende,
figures
divided
propoi^tions
each
to
Phidias.
reclining
the
and
the
in
alike
small
and
eyes,
though
two
of
is
simply
halves
of
According
arm
side
is
due
two
of
hair,
rival
ment
pedi-
each
are
outlines
shapes
Paeonius
by
pediment,
western
in
uneven.^
is
of
formation
in
execution,
very
the
woman
in
each
way.
sculptures
muscles,
technical
pediment
Alcamenes,
alike
are
same
represented.
scenes
god,
drapery,
is
eastern
of
is
two
figures
same
compositions
rigid s"Tnmetry
bodies,
of
also
in
the
the
the
symmetry
in
three
western
in
figure
produced
belong
of
of
sides
The
pediment
figure
They
treatment
two
the
figures,
half.
the
the
"
upright
an
is
The
Authorship.
number
and
the
recumbent
other.
connected
pediment
in
two
ciples
prin-
may
pediment
the
quiet,
middle
groups
eastern
individual
the
between
difference
two
the
action.
the
ground
of
same
in
produce
in
each
the
persons
two
each
in
the
the
fray.
and
closely
two
exactly,
groups
figure
of
two
symmetry;
correspond,
in
balance
and
comers.
in
Apollo;
the
inactive
Zeus,
on
cushion
violent
Yet
pediment
western
beside
is
by
the
to
middle
in
turmoil.
seated
figures
the
in
all
is flanked
woman
from
escaped
employed.
are
pediment,
eastern
struggling
are
and
on
figure, probably
engaged
pediment
action
reclining
god
not
forces
Lapith
has
the
persons
composition
attendants),
as
and
one
"
(to which
pairs
only
In
Composition,
the
who
and
three
female
group
Centaur
"
partially
maiden
side
of
group
recumbent
and
kneeling
woman
comer
or
whom
old
an
each
side
each
at
boy
83
CENTURY
follows
and
each
on
FIFTH
then
Centaur
then
Lapith;
mftiden
figures,
two
THE
seen
end
are
bein|;
and
ancient
Parian)
84
that
the
OF
pediments
two
subjects.
HISTORY
They
SCULPTURE
alike
are
in
therefore
must
be
everything
the
their
except
work
of
the
same
if
school,
not
sufficiently
of
the
of
the
artist.
same
advanced,
is
and
attribution
to
unlike
too
of
pupi!
the
Moreover,
Attic
work,
Phidias.*
by
for
53),
the
as
is
Paeonius
is
he
mentioned
artist
the
in
of
style
is
than
is
set
vanced
ad-
more
of
the
If,
the
(425
it
that
work
the
Paeonius
his
in
his
ble
possi-
pediment
were
oped,
devel-
this
likely,
of
youth,
style
but
is
not
especially
artist
youthful
be
hardly
is
the
before
the
Sphacteria
B.C.),
groups
Nike
after
up
at
very
perb
su-
groups.
affair
this
probable,
was
scription
in-
base,
that
pediment
AS
the
its
figure
tainly
cer-
(Fig.
on
but
of
statue
Olj-mpia
at
not
permit
to
The
Nike
style
as
would
employed
decorate
the
to
portant
im-
most
temple
Greece,
It
wiser
they
had
artist,
time
some
"
that
that
aBBumptioD
The
of
tbe
Pauaaoias
western
waa
pediment
miatakeD.
be
to
work
of
lack
with
content
under
come
figures
splendid
artiBt
the
probably
are
at
and
delicacy,
aaother.
hardly
warranted.
to
statement
which
These
but
unkuowii,
ful,
power-
they
is
simpler
full
are
AtcBmeaea
It
no
that
school
perhaps,
otherwise
U
the
ii^uence.
Ionic
the
groups
Peloponnesian
therefore
ascribe
to
pediment
individual
is
in
was
to
asnime
the
SCULPTURE.
GREEK
of
vigor
the
figures
they
moreover
enhanced
color, which
Three
Zeus
of
Olympia
at
fifth
the
Myron.
of the
sixth
transition
to
as
works
times.
best
54) ,2 the
Rome.
athlete
it out
in
the
attitude,
the
Pliny
Phidias
by
probably
writers
'
The
other
and
in
whom
tree
gives
Lancelotti
made
in
When
the
statue
Roman
bronze
not
a
Nesiotes
bronze
of
statues
said
be
to
insects.
so
Many
and
few
Roman
(Fig.
in
palace
serves
in
would
times,
original
55)
that
says
is
it
is
mentioned
authors
that
to
two
teacher
of
is
statement
that
note
drew
the
Polyclitus
the
The
of
toes
and
as
their
the
cient
an-
information
Attic
great
^^*^i
general
bent
Myron
mentioned
the
straighten^ ^i^V
The
the
interesting
when
to
Aristophanes.
on
as
the
in
present,
better
form,
hand,
left
assertion
the
is chosen,
sculptors
school.
is necessary
therefore
was
of
of
exertioiy
who
but
late
the
in
which
trunk,
replicas,
second
period
Lancelotti
whole
the
Argos,
only,
Argive
the
of
scholiast
Polyclitus
improbable
trained
were
and
from
nothing
saw
of
true
the
and
writers,
cast
supreme
and
57
of
Hagelada^
Tzetses
end
contemporary
even
the
the
his
of
xxziv,
fftst.
of
in
to
the
the
the
?was
cow
in
before
fingers
tense
(Nai.
pupils
were
from
was
his
and
is
twisted
instant
next
had
g^"
and
bent;
were
on
in
copies made
through
Discobolus, or disk-thrower
which
just
moment
nas
for
ancient
by
far
elder
an
bronze
is the
of
sculptors
town
of Critius
cattle
us'
to
copy
tThe
His
living
these
Among
belongs
famous
described
known
are
of
temple
youngest,
not
adtivity
also
especially
are
bprn
He
was
"
of
use
Polyclitus,
small
contemporary
animals.
the
and
and
whole.
famous
chief
century.
deceive
when
named,
was
his
he
free
the
and
visible
career.^
Boeotia,
and
was
and
lifelike
them
younger
He
athletes
of
Galamis,
Phidias.
his
fifth
as
of
of
the
of
design
.beholders,
by
most
Eleutherae,
and
century,
of
quarter
and
and
of Attica
borders
of
three
last
his
upon
time
Phidias,
the
though
Myron
"
the
Myron,
century,
entered
just
the
At
"
finished
was
known,
already
^y
Sculptors.
Great
effect
of
been
the
hidden
brilliant
the
faults
not
rigid
too
have
above
and
disguised
were
its somewhat
would
place high
85
CENTURY
Minor
effective.
in
were
of
spite
execution
of
unevenness
when
and
is skilful
symmetry,
and
in
composition,
the
FIFTH
THE
idea
of
the
the
most
is under
the
Lancelotti
but
reproduction,
bronze
marble
of
in
support
original
Many
'do.
and
marble
them
discussion,
For
original.
than
direct
of
copies
have
the
this
support
needed,
reason
bronze
must
of
statues
similar
be
lustration
il-
our
phot.ograph
supports
and
statue
not
was
the
were
to
this.
disregarded.
foot,
left
the
with
comparison
of
the
the
this
the
Myron.
by
Discobolus
National
the
in
Mu-
Like
model.
of
works
it
period,
modem
parlance,
istic
not
The
artist
idsat
an
work.
studied
nature
in
observed
many
creating
thus
figure,
natural
perfectly
he
details
the
statue
in
combine
could
he
in
is,
realistic
the
Home.
cum,
which
The
nature.
of
known
to
Athena
'
in
in
atatuetW
Frankfort
on
bead
the
at
According
55}.*
Msrsyai
The
the
Main
Dresden,
is
British
and
and
several
in
copy
Museum
hands
(both
^e
the
large
torsos.
the
part
The
tried
and
Museum
Lateren
in
of
and
Athena
story,
Athena
which
Marsyas
of
group
to
marble
fuU-siied
realm
Myron
by
work
however,
the
into
upwards
soar
copies
is,
Discobolus
Another
by
us
(Fig.
bronie
not
conceptions.
great
is
does
it
;
of
work
individual
every
the
of
idealism
physical
purely
in
present
are
fections
imper-
those
without
but
ing),
ities
peculiar-
the
persons,
"
stops
reproduction
classic
had
64,
nature,
the
Greek
one
rate
accu-
individual
until
reconstructed
most
of
of
all
evidently
of
of
all
with
detail,
study
FiODfiB
accomplished.
result
of
violent
figure,
careful
short
ture
pos-
most
is
motion,
the
even
contorted
or
its
form,
most
Yet
tige
ves-
representation
human
the
in
No
The
of
Harmodius
progress.
remains.
frontality"
though
the
of
curls
be
to
violent
rendered,
wonderful
'~~
face,
accompanies
circular
shows
Nesiotes
"law
the
of
that
imperfectly
uniform
the
and
Critius
by
is
hair
the
and
exertion,
accurate
The
nature.
expression
show
all
ground,
of
study
intense
the
SCULPTURE
the
on
careful
and
lacks
sure,
drag
they
as
observation
OF
HISTORY
both
marble
at
copy
miss-
are
arms
Lateran
copy
of
the
88
HISTORY
and
efiFective
and
whether
he
his
That
of
Of
Phidias
the
skill
due
the
to
of
types
and
the
of
the
artists.
detail
Athens.
parts
The
from
works.^
of
the
their
the
(1.03
(0.34
"
(the
Elean
Roman
m.
emperors
be
for
that
the
of
and
the
entire
of
are
more
base)
and
the
date,
and
statue
or
less
directly
in
is
head
as
Athens
descended
inspiration
The
the
the
copies
Varvakeion
Lenormant
reproduced
seated
carved
Crimea
the
of
is
figures
from
ette
statua
on
example
separately)
most
materials,
but
from
an
by
imagination.
medallions
serve
may
the
ornamentation,
unfinished
head
the
gold
two
Louvre
Roman
the
later
than
precious
in
are
and
56)
on
the
in
Parthenos
Fig.
crusting
en-
possible
in
more
convincing,
is
of
metals.
it
personal
the
only
effect
the
gem)
coins
restored
Athena
height,
collier"
(both
bronse
can
their
and
67)
statues
of
crease
in-
the
originals, produced
the
of
brilliancy
without
Aspasios
au
Zeus
in
high
m.
Minerve
The
copies
of
effect
with
make
gives
details
execution,
their
evidence
small
Two
statuette
with
beaten
precious
both
of
nude
of
(page
and
of
at
the
is,
made
descriptions
attitude,
The
artist
great
literary
gem
of
the
however,
size, the
mastery
bronze
these,
statues.
great
colossal
the
of
and
that
method
adaptations
or
of
form
but
gone,
None
general
with
figures
that
Parthenon
naturally,
earlier
the
described
statues,
drapery
developed
nized,
recog-
Christian
are
the
the
Romans,
by
which
chryselephantine,
copies
recognize
to
of
all
been
even
in
the
was
The
for
the
Father
Athena
ivory,
him
by
colossal
two
nical
tech-
greatness
by
the
in
conceptions.
has
both
of
with
are
his
tury,
cen-
cannot
we
either
His
God
works,
technique
originals
in
or
fifth
Yet
employed
of
that
were
wooden
do
we
rest
the
others
of
were
were
and
wealth,
of
the
at'Olympia
Pausanias,
This
gold.
they
Zeus
encrusted
were
but
tion
representa-
at
of
established
were
famous
Both
deities
the
greatest.
grandeur
Olympia
at
tist,
ar-
.thought
in
observation.
gods
his
the
surpassed
and
most
by
of
sculptors
great
representations
His
Zeus
he
centuries
type
in
three
greater
succeeding
of
whether
animals,
careful
purity
the
progress
and
that
in
or
great
apparently
was
positively
assert
grandeur
versatile
statues
many
real
of
made
was
certain.
is
"
Myron
were
beings
motion,
Phidias,
in
he
human
violent
works
capable
was
know.
not
impressive.
even
among
SCULPTURE
OF
this
the
adaptations.
reproduced
of
gods
statue.
on
and
GREEK
and
SCULPTURE.
of
adaptations
mediocre
material,
colossal
sunplicity
of
dignity.
The
the
causes
various
textures
of
fonns
in
the
which
is
in
the
of
the
the
not
unlike
of
Critius
in
works
sess
pos-
we
copies,
seems
head
is
round
rather
of
and
ances
allow-
that
The
that
the
In
ail
fact
the
of
those
poor
of
the
Nike.
archaic.
strong,
ures
fig-
of
making
only
the
more
Athena
with
for
almost
of
still
Athena,
ordered
dis-
drapery
balustrade
comparison
is
carefully
pediments
the
temple
thin
skill
some
and
of
the
consummate
seen
Parthenon
tist's
ar-
disclose
transparent
from
reliefs
the
There
of
and
the
oval,
Harmodius
Nesiotes
in
shape.
FiouRE
Zeus
seated,
in
holding
bis
and
and
a
wreath
the
emphasize
of
figure
hand
right
wore
Olympia
at
of
The
56.
Varva-
"
eion
The
upon
is
through
treatment
workmanship,
foot
there
to
body
the
of
of
richness
far
left
coverings.
hint
no
evident
representing
or
the
delicate
or
the
in
cleverness
from
apart
is
or
the
so
exhibit
to
attempt
it
size
calm
in
variety;
some
small
straight,
except
of
of
however,
careful
of
nearly
position
as
effect,
and
drapery
in
these,
and
size,
folds,
parallel
his
89
CENTURY
either
are
from
for
posture
falls
Atiiena
statues
Even
relied
Phidias
no
the
technique.
that
nFTH
THE
National
Athena.
Mu-
was
Victory
in
sceptre
olive
on
and
benignity
his
his
power
left.
He
head.
of
bearded
was
Ancient
his
writers
The
aspect.
general
of
type
copy
of
the
the
face
head
is
recognizable
exists.
Some
on
idea
coins,
of
its
but
no
appearance
quate
ade-
90
be
may
HISTORY
derived
OF
SCULPTURE
marble
from
head
of
the
Museum
Vienna
of
(Fig.
The
Fine
Arts
in
fourth
the
Boston
as
Parthenos
of
Phidias
dedicated
in
this
himself
represented
bald-headed
bronze
in
57).
Athena
that
in
from
or
was
said
century
old
about
perhaps
statue,
Not
man.
the
on
he
b.c,
of
the
completion
and
work
from
apparently
then
was
that
he
the
Zeus
on
which
Olympia,
have
been
some
years.
at
Olympia,
not
for
ably
probor
near
of
completion
corded
re-
works
colossal
Athens)
he
Head
of
ZeuB,
(Jahrethtfte
InttUuiet,
XIV,
d.
pi.
Oukrr.
therefore
the
apparently
certainly
us
in
the
largely
sian
marble,
belief
that
War,
We
bronze,
his
for
between
the
do
and
and
the
Persian
not
other
know
the
of
the
B.C.
mous
fa-
most
his
His
materials.
belonged
them
were
justifies
fame
great
the
of
among
considered
remarkable
the
half
works
contemporaries
and
number
Uie
of
Many
Attic
Peloponnehis
are
him
of
progress
invasion
made
were
second
earliest
archaism.
from
responsible
sculpture
half,
first
free
not
number
greater
the
to
little,
500
his
statues
u.)
century,
birth
be
after
all,
at
B.C.
his
ArchOol.
in
fifth
470
of
Although
"
Yienna.
hardly
than
date
must
BroQie
Acropolis
can
later
The
57.
bronze
the
on
so-
Proma-
at
FlaDRC
the
Athena
figure
if
(among
probably
chos,
the
earliest
His
called
after
long
not
them
at
finished
died
Zeus.
gan
be-
may
He
the
is
Athena
banished
was
Athens,
it
It
b.c.
shield
after
long
432
438
works
mentioned
of
GREEK
SCULPTURE.
ancient
by
the
but
writers,
only
been
have
25eus,
FIFTH
THE
the
two,
identified
91
CENTURY
Athena
with
and
Parthenos
later
in
certainty
copies.^
Poluclitus^
the
of
fifth
century,
was
His
Sicyonian
birth.
Cyniscus,
winner
of
462
About
423
B.C.
of
statue
extended
have
foot.
This
the
was
the
be
to
seems
of
one
as
None
his
They
in the
works
alike
are
shoulders,
in
and
the
the
"Canon''
above.
and
(Fig. 58).
The
is indeed
little
all
stand
than
more
nique
tech-
tion.
concep-
but
three
These
square
the
walking
called
was
of
the
proportions
typical
Amazon.
head,
in
model
the
as
of
square
Doryphorus
regarded
was
It
and
forms,
to
and
the
and
broad,
him
copies.^
Diadumenus,
but
appears
original,
marble
one
regarded
grandeur
the
in
relatively
powerful
described
posture
exist
statues
Doryphorus,
in
preserved
on
walking,
proportions
or
is
as
advanced,
greatness
of
invention
be
more
critics
his
perfection
of
is
famous
but
ues
stat-
far
so
to
is the
later.
or
Polyclitus,
appears
that
then
chiefly
of
ancient
artists,
fertility
his
most
the
are
in
foot
The
greatest
rather
of
the
by
borne
figure
in
chiefly
were
works
the
to
Olympia
B.C.
figures,
weight
the
invention.
the
than
of
borne
his
resided
have
which
by
weight
the
peculiar
not
arrangement
with
with
erect,
these
of
life must
423
to
bronze,
All
statue
chryselephantine
His
485
of
the
at
great
or
of
probably
is
Argos.
490
athletes.
stood
known,
the
exclusively
victorious
of
match
near
about
almost
boxing
masters
great
though
work
made
temple
the
known
boys'
he
from
works,
His
the
of
Argive,
an
earliest
her
in
Hera
third
the
Polyclitus,
"
of
example
"
In
in
work
of
been
'
of
as
of
about
works
wearing
an
Charles
with
similar
description
notion
Other
but
of
a
white
head-dress.
of
of
Waldstein
adaptation
cylix
B.C.
Phidias,
of
general
by
is
far
existing
of
from
which
Phidias,
none
is
these
clearly
certain,
set
was
have
statues
identifications
accepted.
universally
coins
450
statue
with
Bolo^a
which
this
though
be,
may
in
^Kna
of
statue
bronze
Athens
at
It
Lemnia,
copies
as
yet
head-dress.
Hera
Phidias.
Acropolis
Argive
30-44)
reconstructed
Athena
Pausanias,
Museum.
of
time
a^^B
combined
Furtw"ngler
and
the
claimed
been
and
pp.
the
the
on
has
or
Dresden
of
copy
up
Professor
1893
torso
the
the
head
ground
with
of
(Joum.
this
seated
great
head
in
in
Berlin
elaborate
Hellenic
marble
Studies,
head
is
of
statue
its
in
the
statuesque
Hera,
crown
1901,
British
figure
92
the
Polyclitan
simplicity.
hold
ends
head,
is
OF
formula
The
the
the
HISTORY
of
SCULPTURE
in
rest
with
Diaduroenus,
of
the
band
individual
more
the
ribbon
or
admirable
motion,
that
in
is
two
of
types
and
is
figure
in
to
be
of
the
though
of
his
them
in
seen
ments
state-
Their
and
great
adaptations
in
produced
his
the
the
by
were
the
the
writers.
and
of
judge
by
attested
by
works
can
only
which
proved
(Brunn-Bruckmi
influence
great
of
traces
of
works
style
his
some
of
the
of
the
Ersati.)
273
gifted
most
Sculptures
works
'
which
Id
the
ancietit
Phidias.
Polyclitaa
the
jrom
Heraeum.
undouhl"11y
but
this
The
is
Naples
is
roganied
fame
style.
somewhat
are
like
more
even
critics
The
marble
successors.
copies
"
at
museum
his
among
"
Polyclitus
of
is
statue
of
we
copies
times,
nical
tech-
his
original
ancient
of
idea
some
of
not
perfection
number
works
us
His
is
ble
mar-
famous
but
and
lost,
The
give
popularity
pW
appears
the
style,
of
is
this
original.
of
Polyclitus
Polyclitus.
museum
inaccurate
skill.'
of
the
even
bronze
of
later
sented
repre-
copy
copies
of
best
in
statue
somewhat
their
man.
young
are
resemble
can
type,"
Berlin,
closely
as
This
of
by
bles
resem-
proportions
about
"Berlin
the
ing
dur-
one
in
lines
figure
the
created
Doryphoms
female
the
Of
century,
is
younger.
Amazon
general
as
probably
represented
be
fifth
the
proportions
youth
to
the
about
slighter,
supposed
to
bound
The
the
its
raised
be
to
attitude.
because
ryphorus
hands
somewhat
are
in
only
bronie
and
ropy
bh
coutains
the
the
make
to
if
almoat,
a
lifeless.
head
than
fails
also
and
of
ropy
oriEinal
the
Polyrlitus
museum
dull
brouie
not
of
the
Doryphonis
head
of
clear
to
the
us
the
quite,
head
Frag-
of
an
marble
why
equa]
Amnion
the
of
GREEK
SCULPTURE.
of
ments
that
which
they
works
and
executed
of
chief
freshness
than
do
have
had
of
pediments
somewhat
less
the
Doryphorus
therefore
and
Attic
tends
but
type,
time
shows
be
and
of
the
inferred
that
other
that
of
It
school
was
than
Roman
famoua
the
copies
works.
this
of
fragments
work
Polyclitus.
the
from
therefore,
extent,
the
stereotyped
artist's
great
Amazon,
Argive
of
youthful
that
toward
of
work
monotonous
might
is
school
the
the
these
is
than
more
it
and
that
less
of
or
expression
the
head
broad
or
square
of
This
temple.
the
far
i"
"Hera"
one
show
Among
is
the
by
of
interesting
in
place
they
designed
They
statues.
called
but
influenced
variety
famous
most
head,_ji3Uaily
may
the
his
the
one
female
of
of
of
fragments
and
duce
pro-
suppose
doubtless
school.
Argive
to
himself,
were
near
Hera,
reason
strongly
conception
copies
of
artist
were
the
no
and
time,
temple
statue
have
great
who
of
of
the
the
his
artists
by
acknowledged
more
of
the
the
We
work
the
original
are
made
93
CENTURY
decorated
impression.
are
RFTH
once
Polyclitus
different
which
sculpture
for
Argos,
THE
head
To
and
decorative
the
tures
sculp(Wftldst.
the
of
and
temple
correct
supplement
may
of
estimate
our
the
'*^-
"*''''"'"
^v.)"^
of
style
Polyclitus,
Other
Sculptors
artists
of
of
was
Crete,
of
Athens,
ancient
and
Most
of
the
the
the
of
them
only
in
artist
acroteria
or
of
Strongylion,
to
seem
were
was
and
works
near
of
the
Nike
of
the
temple
were
chiefly
mentioned
Olympia
of
in
Cydonia,
Megara,
Paeonius,
at
Athens,
Phidias;
worked
have
Colotes
Elis.
of
of
of
Cresilas,
the
was
Bf
pupils
were
Calamis
Cyprus,
l^wius
AlcameneS",
Paros,
other
"
name,
Elis,
near
of
pupil
though
Thrace,
also
Heraclea
note.
writers
of
Several
Century.
by
are
Agpcaccitu^,
of
Styppax,
sculptors
in
of
Colotes,
PrMchB'
at
Fifth
known
period
Myron
son
and
this
the
of
Zeus.
of
by
Mende,
(page
A
bust
84)
of
94
Pericles
as
in
the
the
of
of
the
error
the
is
said
Rhamnus,
once
of
spite
of
are
reputation
was
most
to
usually
of
Nike
not
of
only
the
the
the
though
that
place
have
m.
sculptor's
be
1.27
m.)
of
the
put
after
finished
by
adorned
about
trave,
archi-
the
in
was
The
and
in
put
B.C.
feet
in
place,
all
rate,
any
four
is,
wall
statues
and
432
figures
not
that
place,
At
was
was
the
carved
the
among
it
438.
447
with
are
it
temple.
each
was
temple
round
ran
probably
number,
The
of
above
in
that
between
copies,
works
though
B.C.,
carved
dated
are
Paeonius
The
been
the
by
sculptures
frieze
was
These
late
condition,
were
for
decorative
metopes,
they
of
were
The
438
were
material.
and
Ionic
were
in
best,
at
genius.
The
dedication
may
works
ivory.
different
and
in
pediments
the
by
also
or,
human
432.
The
ninety-two
metopes,
the
the
sculpture,
and
fragmentary'
before
it
the
sculptures
(1.20
until
may
after
and,
of
famous
exception,
lost,
dedicated
probably
filled
at
museum
contemporaries
sculptors.
of
438.
gold
and
solitary
their
carved
cella
of
famous
in
finished
by
that
substantive
descriptions
is
and
447
were
reliefs
something
us
their
of
or
monuments
certainly
of
by
even
in
entirely
works
completely
greatest
begun
the
execution
The
and
workmanship
most
so
Parthenon,
Phidias
to
the
at
"
bronze
Paeonius
not
are
of
inferior
of
one
to
Nemesis
of
have
Parlhenon.
the
statues,
us
pediment
of
and
in
was
writers
now
veiled
Agoracritus
statue
design
prove
Polyclitus,
part
known
they
of
Phidias,
free-standing
the
are
in
originator
83).
in
for
thinly
fragments
proportions,
art;
the
western
some
an
noted
deserved.
Sculptures
Myron,
lost,
pedestal
small
great
by
but
charming
their
tlie
of
Fausanias
the
(page
of
reason
work
that
in
figures
ascribed
its
been
seems
artist
ia
statue
They
The
is
adorned
Athens.
dignity
the
it
though
It
good
the
Genetrix,"
Olympia
at
is
especially
have
may
the
Zeus
it
was
136).
him
been
The
which
"Venus
to
of
have
to
himself.
as
page
ascribing
temple
of
in
(see
figure
in
Alcamenes
He
with
regarded
Cresilas;
work.
known
type
female
his
is
by
ability.
great
delicacy
of
Museum
original
an
SCULPTURE
OF
British
of
copy
artist
the
HISTORY
very
The
square
high
90
square
skill.
The
honor
of
Athena,
but
the
families,
are
mounted
and
the
and
the
each
On
armed
long
east
end
the
groups
the
of
tribes,
with
few
east
end.
with
from
temple
the
procession
it
or
turns
the
the
the
other
southern
south
Here
the
is
headed
them
eponj-mous
whose
are
drivers
chariot
or
carrying
offerings.
represented,
whether
by
he
maidens
stand
heroes
the
At
portico.
corner,
just
and
their
well,
equally
persons
have
sacred
Before
ten
Athenian
maidens
youths
instruments.
perhaps
men,
the
and
northern
procession
north
cession,
pro-
portrayed.
or
the
sacrifice,
see
in
real
best
On
either
to
the
horses
with
could
sacrificial
bearing
the
spectator
along
walked
of
of
the
chariots
fought
led
citizens,
side
their
best.
procession
of
way.
the
clearly
youths
horses,
cows
one
details
toward
who
and
the
sliows
of
Panathenaic
mount
moves
workmanship
elements
their
on
men
sheep
the
that
to
prancing
venerable
jars,
Attic
started
all
knights,
preparing
on
the
essential
the
procession
foot,
on
so
end
men
young
the
the
reproduces
60
with
not
"
SCULPTURE
while
filled,
represents
with
west
OF
Figure,
frieze
Ionic
sides
be
to
space
remarkable
At
HISTORY
two
of
significance
the
is
SCULPTURE.
GREEK
not
clear
the
twelve
to
is
door,
attendant
cloak,
the
of
peplos
is
purpose
Attic
here
heroes
thus
The
metopes
the
full
in
frieze
the
shade,
from
below
Since
the
arid
light
less
project
cut
the
the
figures,
the
from
in
rule,
reach
oLthe
The
design
in
stone-cutters
many
it, but
whom
convention
that
all
there
fertility
is
of
and
of
parts
by
be
but
in
and
in
result
the
there
variety
is
nobility.
no
one
of
one
observation,
beauty
which
line
demands
(isocephalism)
presents.
repetition.
united.
were
monotony.
it
ployed
em-
ably
is remark-
work
the
sculpture
of
considerably,
design
is
of
matter
accurate
love
relief
not
for
figures
is life,
grace,
and
approximately
does
the
invention,
Greek
remarkable
of
of
effect
necessarily
were
frieze
the
was
varies
of
the
of
brilliancy
thejelief"
quality
harmony,
of
heads
is observed,
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,
made
sums
kind.
master
the
the
and
than
been
the
considerable
regarded
been
to
drachmas
60
paid
(the
of
was
of
usually
un-
of
admirable
are
figures
expended
money
they
whom
figure
they
was
not
have
must
especially
those
ordinary
an
the
surfaces
square
Erechtheum,
the
to
persons
course,
the
at
of
scenes
not
dignity,
has
of
means
was
work
more
suggestion
recording
erection
the
little
the
hence
the
carving
were,
are
which
to
procession
supports
the
the
The
by
Caryatids
grace,
them
proclaims
inscription
an
of
firmness,
the
fully
beauti-
stone,
continuous
as
of
represented
all later
figures
of
heads
for
models
female
using
figures
60).
charge
the
as
six
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.
Monu-
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
conti-
world.
from
galeia,
the
was
only
Hellenic
fluence
in-
the
art
Greece,
fifth
completely
Attic
liaachi.
the
general,
not
the
Athens,
of
each
other.
stronger,
of
not
but
Frieze
The
that
part
were
the
square
Polyclitan
and
Argos
isolated,
the
less
probably
century,
Attic
Doryphonia,
or
truth
(Fig,
as
is
an
Hera,"
"
claimed
it
FIFTH
other
Heraeum
been
work,
the
called
Argive
has
of
On
head
the
59)
in
work
sculptor.
hand,
THE
Attic
influence,
work,
is
seen
work.
if
in
not
the
^JP^^'i^^i
CENTURY
105
106
reliefs
the
of
Gjdl
from
Nereid
the
Baschi,
the
the
SCULPTURE
the
At
time
of
In
after
the
the
of
art
it
rate,
is
that
plain
predomi-
the
sculpture
when
Reliefs.
Reliefs
also
for
only
of
oration
the
det"
but
buildings,
votive
as
Greek
of
periods
not
"
employed
were
all
art
those
executed.
were
Various
at
Attic
was
Lycia
works
is
work
in
of
middle
be
influence
nent
the
painting
perhaps
may
of
sculptures
Museum.
much
not
any
the
Britbh
monument
centurj'.
and
Vienna,
influence
Nereid
fourth
in
from
century,
The
in
now
now
dates
fifth
evident.
of
OF
Monument,
which
former,
HISTORY
offerings,
tions,
inscrip-
for
headings
and
gravestones,
the
like.
Such
of
are
interest,
when
artistic
even
have
they
little
because
value,
show
they
and
great
of
the
sculpture;
of
some
of
popular
the
relief
of
use
reliefs
them
beauty.
Most
sculptured
stones
grave-
belong
fourth
are
large
relief
One
from
hair,
and
(or
and
of
copy
of
one,
statue.
are
at
finest
in
In
are
the
with
least,
of
The
date
It
female
of
class
the
of
traces
the
votive
treatment
stiff.
this
but
the
sents
repre-
youthful
draperj',
archaism,
of
has
been
figures
work
liefs
re-
is
which
Athens)
noticeable
somewhat
the
this
of
(Persephone)
Bacchus).
attitudes
the
the
(now
Cora
there
eyes,
that
Eleusis
and
Demeter
Triptolemus
of
the
to
century,
many
earlier.
are
gested
sug-
may
probably
be
GREEK
SCULPTURE.
little
than
frieze
the
relief, though
called
of
fifth
archaism.
clear,
but
perhaps
Athenians
and
in
forms
the
in
Progress
of
advanced
sculptors
to
correctly
the
forms
structure
and
in
which
compositions
called
is
model
of
combines
Erechtheum
that
the
by
reached
the
perfect
and
later
may
was
strongly
And
be
still
to
in
of
said
hardly
in
so,
to
begin
modern
and
of
of
truth
to
of
of
with
a
mind.
the
kind
would
in
that
their
to
had
portray
have
progress
not
of
sculptors
of
decadence
fourth
ability
tion
exaggera-
period
the
by
the
seem
sculpture
without
of
of
sculptured
nature,
the
sense,
dignity,
porch
and
beasts
and
Parthenon
of
the
so-
Parthenon,
the
It
it had,
equalled,
a
the
Greek
sculptors
possible,
the
men
of
examples
sense,
and
The
qualities
century
developed
invented
members.
with
the
and
time.
fifth
general
surpassed.
maidens
among
types
attitudes
surpassed,
sculpture
progress
So,
awkwardness,
or
any
the
perfection.
actions
the
architectiu-al
of
end
represent
been
charm;
as
the
degree
represent
decorative
frieze
the
and
created
pediment
perfection
unequalled
are
employed
figures
to
and
variety,
been
eastern
unparalleled
and
Greek
in
eyes,
drapery,
deities,
never
the
physical
in
grace,
have
from
Theseus,
of
to
both
and
of
express
century
learned
hands
as
to
mannerism,
animals,
representation
types
fifth
simplicity,
such
unknown
able
stiffness,
and
of
beauty.
the
In
not
Ibt
the
were
and
is
at
"
men
details,
chief
the
perfected
period
marked
relief
Even
dignity
and
of
the
in
skill
great
this
archaic
grace
the
battle.
Century,
from
conventionality
pensively
gazing
middle
shows
and
so-
heading
the
about
is
simple
Fifth
earlier,
in
of
of
work
the
the
meaning
fallen
artists
is
ojf
Athena
unimportant
is
trifle
charming
apparently
was
It
The
have
who
themselves
or
Another
workmanship,
which
century,
somewhat
century,
Parthenon.
67).
107
CENTURY
fifth
remarkable
(Fig.
of
traces
FIFTH
the
the
Athena,
inscription
the
of
of
of
not
Mourning
an
of
middle
the
after
earlier
THE
century.
which
Greek
Yet
peals
ap-
CHAPTER
SCULPTDRE.
GREEK
QualUies
fourth
the
Persian
courage
and
in
the
but
the
greater
century.
It
Olj-mpians
human
elegantly
skill,
the
figure,
begins
and
some
the
be
is made
Doryphorus
Scopaa,
are
whether
Praxiteles,
is
to
preferred
violent
no
and
longer
or
with
the
gentle.
Such
"
that
so
Greek
the
word,
expression
attitude
The
his
becomes
of
appropriate
are
universally
Lysippiis.
work,
the
which
more
exhibit
to
his
of
ostentation,
individual
sculpture
agree
serious
attitudes
artist
use
fifth
Dionj'sus,
toward
in
types
the
proportions
the
The
in
in
less
The
the
to
represent
Hermes,
speak
or,
expressed
attitudes
emotion,
of
him.
Emotion
countenance
of
of
The
j'ounger,
tendency
still
fixed
slender,
part
appreciate
to
the
personality
own
prominent.
"pcdhos
of
his
shall
public
more
of
make
to
philosophers
austere.
century.
is
the
on
the
spirit
Something
been
tjpes
more
There
desire
apparent
of
the
individual
the
sculptors
had
mtlitary
general
of
the
among
and
and
and
grand
fourth
become
graceful.
The
chief
the
in
supreme,
art.
of
Empire,
greatest,
but
Salamis
patriots,
great
the
as
of
Athenian
the
still
turn
the
figure
of
deities
the
to
foundation
fellow-citizens.
less
are
now
belong
in
elder
and
Aphrodite
the
is
their
seen
ideals
and
the
an
is
change
same
ideals,
the
of
conduct
battles
the
speculations
the
against
the
less
was
in
Greeks
about
dead
state
both
important
all
the
"
gained
forth
means
no
The
In
Cerdury.
united
had
were
stands
CENTURY
Fourth
development
There
by
was
the
brought
the
power.
different.
more
of
and
FOURTH
had
had
Demosthenes
whom
the
which
which
its
lost
in
spirit which
invader,
League
had
THE
Sculpture
the
Plataea,
Delian
was
of
century
and
VI
simple
the
to
vigot-
popular.
are
the
general
'
SCULPTURE.
GREEK
of
qualities
of
that
from
in
appear
works
the
the
all
of
century
the
in
chiefly
end
the
in
building
probably
of
though
belongs
to
record
the
time
that
would
he
Probably
of
Lysippus,
B.C.
lived
of
in
Potidaea,
good
old
The
three
though
birth
he
Lysippus
died
in
twenty
no
Great,
between
been
likely.
before
325
bronze.
said
have
He
to
have
the
on
site
lived
early
as
is
the
is
therefore
probably
was
there
to
least
at
were
and
"
Cassandreia
is known
fall
must
sculptors
great
of
Mantinea
and
Alexander,
As
B.C.
chiefly
work
as
to
386
B.C.
contemporaries,
or
years
more
younger
Scopas.
than
Scopas,
of
of
founding
the
316
his
age,
worked
the
chiefly,
at
and
may
of
known
had
400
B.C.
we
half
meeting
conqueror
after
long
not
if
349
;
Alexander
been,
great
Sicyon,
until
least
at
the
after
worked
B.C.,
in
Mausoleum,
second
Leto,
with
Tegea,
temple,
earliest
370
have
sculptor
favorite
the
was
and
born
was
and
born
at
the
also
His
him
undoubtedly
sculptor
great
Athens,
from
connects
the
are
employed
known
are
worked
was
was
until
in
marble.
he
earlier
of
him
early
of
far
not
the
the
death
Alea,
finished
Artemis,
Apollo,
story
or
there
as
of
group
"
died
in
exclusively,
not
of
not
Praxiteles,
century.
Athena
with
he
he
decoration
was
that
of
the
in
connected
dates
since
destruction
which
assume
fourth
the
and
that
suppose
century,
temple
birth
some
Scopas,
and
Parian,
the
of
sculptors
his
to
fifth
part
Halicamassus,
further
of
dates
in
Lysippus.
was
not
in
or
present
are
and
three,
the
the
took
He
therefore
his
male
Scopas
"
the
works,
*
heads
Tegea.
do
the
after
soon
B.C.
No
of
century
greatest
is reasonable
of
toward
the
three
The
it
them
do
qualities
of the
of
distinguished
as
These
Praxiteles,
eldest
but
century,
works
some
The
marble.
unknown,
at
but
artists,
Scopas,
apparently
all
in
109
CENTURY
period.
preceding
measure
were
fourth
the
everywhere.
degree
394
of
art
equal
FOURTH
THE
not,
head
The
of
boar,
boar's
apparently,
intensity
from
the
belong
is
of
head,
from
to
the
each
the
of
and
the
female
other
or
to
the
quality
his
'Two
temple
torao
The
pediment.
emotional
in
expression
pediments
female
head
for
famous
was
were
female
pediment.
faces.
of
also
head
Athena
found
and
at
torso
110
Alea,
since
the
temple
Pausanias
In
made
that
the
The
marble,
have
have
of
pediment
heads
in
the
works
the
neck
upon
with
of
both.
side,
overhanging
mouths
have
the
heads
to
are
the
slightly
faces
gives
us
facial
fourth
peculiarities
in
which
century
of
the
heads
rather
which
thick
seem
under
to
extend
lids,
round,
set
beyond
deep
the
whole
of
study
by
of
the
some
below
Scopas
heads
of
sculpture
all
or
of
the
with
eyes,
heavy
comer
these
and
wide-open
outer
The
expression
statues
with
by
upward.
employed
"
to
or
shadowed
The
qualities
combined
not
are
backward
the
Many
general
they
and
means
expression.
are
these
the
which
top,
'.":ist*.
emotion.
into
insight
an
with
(Doiiana)
flat
fervently
and
work.
was
local
but
open
lips,
intense
of
from
gaze
parted
indicates
represent
known,
brows,
his
Achilles
turned
wide
eyes,
heavy,
of
The
or
of
Polyclitus,
are
it
interior,
also
relatively
they
the
of
Boarhunt
68),
architect
were
combat
rl-35:
one
in
Calydonian
(Fig.
form,
the
statues
the
western
degree
was
sculptures
the
hroad
the
Scopas
the
marked
ia
qualities
some
extant
seen
straight
set
the
in
SCULPTURE
that
pediment
represented,
we
the
eastern
Teiephus.
these
says
and
probable
OF
exhibit
Tegea,
at
and
is
HISTORY
eyebrows
of
the
eye.
112
of
Hera
"It
is
work
of
ruins
of
the
good
of
for
the
famous
other
works
of
of
other
comparison
of
from
difference
and
bronze
well
curve
of
the
be
would
being
marble
supports
which
is
serve
light
and
the
and
very
in
the
graceful
in
way
as
variety
to
folds.
over
the
practical,
is
the
It
stump,
and
their
to
do
without
sable,
indispen-
bronze
originals.
the
addition
in
statues,
supports
In
purpose.
composition
falls
fore
there-
almost
making
real
and
proportion
of
the
thrown
Bronze
are
copies
in
has
therefore
figures
without
holds
marble,
in
can
ability
drapery
its
they
marble
well
as
lending
shadow
which
he
curve
alone,
supports.
stronger
Polyclitan
Such
which
The
rhythmical
the
stood
of
muscles
easy.
the
in
those
the
"
arm,
over
need
marble
the
left
chiefly
much
great
Hermes,
work,
tree,
figiu^s
for
aesthetic,
an
of
seen
his
Lysippus,
and
in
for
copy.
and
seen
figure
rests
statues
showed
Praxiteles
if the
are
is
The
case,
than
pronounced.
worked
nude
hollow,
as
which
more
of
and
are
material,
is the
graceful
"
much
stump
than
weight
posture,
Hermes
standing
cast
upright
figure,
Praxiteles
cloak.
is
and
they
of
marble
powerful,
attitude
unnatural
the
upon
his
the
far
lighter
are
copies.
details.
as
the
identified,
Polyclitus
through
still
are
The
whole
here
but
child,
but
from
quite
support,
the
Hermes
become
has
statues,
case
of
developed.
deviation
the
only
only
tors,
sculp-
in
only
finer
when,
of
works
the
and
difference
no
only
is therefore
how
their
is
is the
Greek
been
the
ably
remark-
is also
It
shows
in
in
It
stone
remark
anonymous,
have
still greater
the
in
preserved
there
is known
canon,
are
Hermes
when
famous
still
famous
most
are
originals
be
proportions
slight
of
the
Polyclitan
of the
the
even
original
The
are
the
found
and
style.
Praxiteles
with
it must
with
instance,
his
these
his
artists
by
was
Praxiteles,
originals
great
works
certainly
the
the
is great,
of
of any
extant
reproducing
of
study
work
original
but
the
(Frontispiece).
work
original
statue
broken,
preservation
of all accurate
attested
Copies
somewhat
adds
He
This
of
Hermes
Dionysus.
Praxiteles."
extant
basis
mentions
infant
temple,
state
attested
the
the
carrying
a
SCULPTURE
OF
Pausanias
Olympia
at
(marble)
HISTORY
to
by
the
is treated
beauty
the
perfectly
the
play
of
natural
in
real-
SCULPTURE.
GREEK
istic
The
manner.
divided
THE
by
folds
almost
imperceptible
broken
by
the
fine
details
Roman
other
the
of
orate
elab-
such
mentioned
copies
fection
per-
almost
are
Greek
are
most
attain
to
in
surfaces
Even
fails
century
grooves,
each
broader
the
depressions.
the
in
wanting
into
pass
and
fifth
and
this,
as
entirely
the
of
parallel
mere
they
curves,
shallow
small,
drapery
but
113
CENTURY
not
are
lines,
sharp
FOURTH
statues
of
is
quite
all
periods.
the
In
great
in
as
and
earlier
of
work
is less
Attic
of
type
and
rather
horizontal
animal,
triangular
but
strong,
The
however,
heads
ascribed
hair
whole
left
as
end
smooth,
in
In
except
when
the
which
case
bronze
copies
appearance
figures
works
they
of
of
are
bronze
the
other
the
upon
him,
with
uniform
in
as
the
marked
or
Critius
the
with
and
Nesiotes;
curls.
locks
cast
circles
originals.
reproduce
In
the
and
the
in
some
nearly
added
low
in
relief,
and
attached,
in
Hermes
some
as
locks
the
as
in
by
dots,
is left
wrought
are
the
western
and
doubt
no
separately
works
the
and
surface
were
and
divided
Sometimes,
the
by
works
from
Apollo
details
the
earlier
thickness,
Olympia,
at
formed
head,
the
In
rough.
stiff, regular
pediment
color.
marble
in
and
surface,
from
project
of
layer
by
broken
irregularly
grooves,
Harmodius
not,
are
fixed
beyond
is
straight.
Tegea
not
most
al-
an
expression.
that
Olympia,
at
generally
the
parallel
pediment
the
locks
is
by
nose
which
from
look
eyes
and
The
brows,
gaze
head
fore-
intellectual,
absolutely
heads
The
comparatively
appears
nearly
an
the
the
is divided
nose.
not
heavy
of
the
pensive,
thick
is
hair
of
but
presents
short
by
is
of
height
its
the
and
Scopas.
to
almost
The
above
those
as
Dionysus,
dreamy,
in
heavy
so
infant
the
shadowed
of
of
and
broad
the
forehead
middle
broad,
too
are
eyes
the
texture
exposure
emphasize
to
fine
relatively
as
this
development
The
projection
not
of
with
nature.
near
groove
if
as
between
The
-out.
is
century,
detail
difference
centuries
head
chin,
the
than
after
fifth
narrow
the
easily pointed
The
the
of
accuracy
though
now,
even
remarkable.
burial,
drapery,
is
the
Hermes
the
skin
the
of
figure
measure
there
is
no
114
attempt
b
The
the
produced
general
artist's
OF
represent
to
hair
HISTORY
individual
the
by
impression,
hairs,
avoidance
the
not
Whether
purpose.
SCULPTURE
but
of
the
such
Praxiteles
of
invented
hair
be
is
supplanted
in
out
and
Hermes,
termined.
de-
certainly
carried
admirably
the
method,
now
It
the
is
this
cannot
not,
or
attempt.
an
reproduction,
of
effect
it
entirely
the
earlier
methods.
The
of
statue
almost
an
the
admirable.
and
body
are
even
so
size.
broken,
is
the
clear
too
of
This
such
small
be
cannot
The
the
as
fact
that
is
the
cessful
suc-
of
rendering
forms
child
accessory.
an
is
plained
ex-
the
by
that
statement
and
mature
merely
regarded
that
action,
are
child
far
head
much
it
forms
for
is
The
attitude,
the
work;
Dionysus
less
the
is
perfect
infant
but
Hermes
belongs
tile
infan-
to
later
time.
The
Aphrodite
The
Hermes
the
of
CnidiaD
69.
not
was
"
Fionu
Cnidus,
of
famous
most
one
works
Aphrodite,
"
after
of
371
the
was
the
the
urn
the
and
beside
the
Far
more
69),
less
best
excellent
rh"thmic
an
goddess
integral
indicates
copy
in
one
of
part
a
the
bath,
of
of
this
all
is
Munich,
in
seen
curve
statues
famous
most
The
Cnidus.
his
were
Aphrodite
of
of
is
Praxiteles.
renowned
same
support
of
(Bruimcast.)
Satjrs,
(Fig.
has
the
from
Aphrodite
V'atican
figure
and
of
Eros,
Vatican.
The
PrazitelcB.
Bruckmann,
the
The
Hermes,
composition,
and
thus
in
accounts
for
SCULPTURE.
GREEK
for
her
THE
to
garment
uncertain.
put
it
She
stands
on
hair
the
drapery
not
smooth,
are
but
skin,
are
their
indicate
made
of
softer
the
by
less
round
in
only
other
to
the
toline
dei
Hermes,
human
present,
and
human
"Capi"Venus
evident
here,
at
in
as
the
is
personality
the
the
toward
nude
the
the
is
Yet
purity
the
or
glance.
is
and
as
Medici,"
than
The
of
Venus"
the
superiority
its
such
Aphrodite,
in
as
are
Vatican
statues
Here,
eyes,
open
dignity,
grace,
without
beauty,
to
works.
but
is
bathing
is
the
wide
copy,
in
the
of
Aphrodite
the
Hermes
earlier
before
her
her
lifting
feminine
of
and
most
like
as
more
in
even
the
Hermes
narrowing
which
of
The
the
and
fall
coquetry.
and
texture.
look
dreamy
and
it
glory
or
115
CENTURY
bathed
letting
the
in
treated
so
has
is
or
shame,
self-consciousness,
Hermes,
she
Whether
nudity.
FOURTH
first
step
of
representation
has
imperfections
been
taken.
Several
Satyrs.
Satyrs
of
clearly
are
origin,
and
is
beautiful
of
types
"
Praxitelean
them
among
none
after
Satyr
"
more
than
replicas
more
The
whole
that
made
Praiitetes.
CapitoNn
which
'
Marble
famous
Faun
(Fig.
of
nature
of
in
377.)
Hawthorne
The
or
preserved
easy
has
grace
woodland
become
curve
is
inclined
of
the
toward
the
face
creature,
a
rhythmic
figure
the
Here
70).
of
posture
is
body
the
again
support.
shows
and
the
the
careless
sponsible
irre-
attitude
indolence.
present,
Even
and
greater
the
116
HISTORY
inclination
the
Praxiteles,
of
support
for
to
would
be
Two
other
of
copies
no
of
certainly
are
of
copies
his
cannot
endured
of
the
his
works
toward
the
between
them
The
the
music.
actual
may
affords
the
calm
their
Among
of
The
of
nymphs
slab
one
before
for
the
which
and
when
realism
slabs
the
and
found
at
of
is
Apollo
his
very
were
and
varied
recorded
numerous
of
bronze,
and
qualities
are
of
of
the
his
though
himself,
with
The
Muses,
form
an
and
the
with
ate
appropri-
group.
works
of
statues
of
famous
courtesan
works
the
The
work.
contrasted
central
not
Probably
decorative
poses,
Muses.
though
Hermes.
opponent.
flay
with
six
of
Praxiteles
his
to
compete
good,
admirably
well-composed
maenads,
distinguishing
of
while
ready
assistant,
an
to
silvan
draperies
the
to
attributed
example
to
of
represented
Apollo,
figures
the
remark
group
is
knife,
are
of
entrusted
was
of
seated
execution
that
to
brief
base
daring
slabs
the
of
Marsyas
with
in
other
aid
the
the
Phrygian
presumption
known
of
the
On
be
only
graceful
setting
some
well
with
of
comparable
action
tions
adapta-
greater
marble
decoration
is excellent
dignity
excited
Three
flute
On
carving
design
toward
ence
influ-
sentiment.
identified
the
his
means
any
rather
was
His
times
at
even
later
and
copies
are
are
or
determined.
popular,
gentle
stands
for
design
by
and
double
playing
in
art
Praxiteles.
by
Apollo
of
been
as
Marsyas
always
which
they
school,
and
tainty.
cer-
"
have
Pausanias
be
exist
whether
his
times,
with
Satyrs,
but
of
cases
in ancient
identified
of
as
works
Mantinea.
from
been
antiquity,
were
quiet
Mantinea
statues
all
tendency
Reliefs
of
in
throughout
general
than
of
which
Thespiae,
at
one
famous
origin,
or
works,
adaptations,
Eros,
Praxiteleah
no
Praxiteles
attitude
an
Praxiteles,
yet
as
of
in
the
support.
especially
statues
of
needed
Evidently
by
have
work
therefore
figure
were
either
Many
and
reasons.
of Eros
Parium,
at
bronze
without
another
(Lizard-slayer),
standing
statues
"
but
the
impossible
Eros.
the
of
practical
represent
in
seen
Sauroctonos
was
purely
is
support
Apollo
which
original
wished
the
toward
SCULPTURE
OF
were
various
grace,
Praxiteles,
deities,
Phrj'ne.
elegance,
GREEK
SCULPTURE.
exquisite
all
in
the
of
workmanship,
of
which
imitators
shows
school
these
of
himself
the
fifth
sentimentality,
In
the
successor
works
of
his
weakness,
into
degenerate
academic
or
legitimate
century.
sometimes
qualities
self-restraint,
and
the
as
117
CENTURY
sentiment,
quiet
he
Attic
FOURTH
THE
coi^
rectness.
Of
Lysippm.
of
youngest
the
Pliny'
turT,',
said
are
older
the
hodies
of
hair,
smaller
had
in
was
and
bringing
with
figures.
Latin
for
been
which
of
he
and
difference
often
that
they
is
before
into
older
said
that
tists,
ar-
the
himself
they
His
extreme
and
represented
and
were,
be.
to
had
the
between
was
preser\'c,
of
canon
seemed
canon
which
thought
square
aa
ent
appar-
There
to
the
them
less
the
innovations
never
and
the
careful
so
in
than
{uvfttierpla)
he
his
done,
his
symmetry
men
the
increasing
of
ture
sculpin
slimmer
word
no
of
consbt
of
artists
height
chief
art
heads
thus
flesh,
cen-
"His
to
the
the
fourth
the
rendering
making
is
the
to
mous
fa-
most
says:
contrihutions
vivid
three
of
sculptors
the
Lysippus,
"
he
they
as
chief
teristic
charac-
delicacy
of
ecution,
ex-
TheVatiean.
(Bnum-
I.
in
even
The
by
as
must
statue
the
smallest
Apoxyomenoa.
Lysippus
of
most
be
of
Agios.
and
extant,
them
certainly
imperfect
very
"
XXXIV,
Bmckmaim,
No
if
were,
his
himself
65
(tnuisUted
281.)
certainly
"
works
were
existing
any
reproductions.
scraping
man
tails."
de-
by
all
K.
Jex-BUk"V
of
bronze,
marble
copies
mentions
Pliny
{apozyamenos)
work
original
by
Lysippus,
118
which
was
in
Vatican
the
has
bronze
(Fig.
Roman
workmanship,
to
long,
works
of
all
the
and
ankles
1897
of
probably
at
Pharsalus
(Fig.
this
that
Here
Pharsalus.
than
slender
""a"n.
XXIII,
'^'o^
and
from
not
fact
that
victories
to
statues
at
which
"
See
At
P.
Welters.
were
the
any
Delphian
the
than
set
Delphian
rate,
SiUungibtrkliU
it
earlier
up
statues
is
not
d.
k.
Bauentchm
an
statue
as
inscriptions
and
identical,
ascribes
two
show
those
at
the
Akademie.
more
that
the
Pharsalus,
copies
be
that
carefully
not
the
quite
was
attributed
is
cannot
certain
as
resemble
heads
may
than
with
taken
The
not
are
at
more
canon,
which
hair
inscription
Pharsalian
Agias
Delphi
case
others.'
the
Delphi
from
sumed
as-
bronze
original
eyes
indeed
served
pre-
been
figure
bronze
Tegean
well
the
been
has
a
and
is
existed
find
workmanship.
fine
very
and
Pharsalus
the
in
of
marble
Polyclitan
The
wrought,
whole
once
the
of
copy
Agias,
statues
once
with
^^^
"^
Scopas.
to
pin.)
the
that
copied),
we
(which
support
indication
l^^"iB!MTdtCot'
is
and
of
has
it
which
Lysippus,
no
and
72),
but
there,
that
Delphi
at
at
ago
series,
but
lost,
Agias
of
statue
family.
years
The
are
was
certain
his
existed
Lysippus.
canon.
least,
at
tions
propor-
tors,
excava-
similar
set
freely
statues
many
bronze,
statue
by
the
and
that
and
French
Pharsalus,
show
by
Polyclitan
the
found
Pharsalus
was
and
marble
by
fine
and
conamemorated
of
Inscriptions
by
of
lost
attributed
is small
the
now
the
unusually
admirably
than
which
Daochos,
one
of
slender,
Delphi
of
copy
head
series
at
that
is
is
are
found
statue
qualities
The
hair
slighter
In
as
the
Lysippus.
marble
which
statue,
neck,
wrists
and
regarded
exhibits
slender
the
rendered,
This
SCULPTURE
Rome,
been
long
71).
the
Pliny
in
popular
very
on
OF
HISTORY
of
Agias
1913,
the
has
iv.
120
HISTORY
Other
Scidpiors
of
sculptors
also
last
for
the
of
fourth
the
named
of
of
copy
Vatican,
this
which,
shows
with
fluttering
Olympus
where
is
known
to
of
the
and
horses,
on
375
Centaurs.
the
of
The
of
Mausoleum,
worked
with
This
of
with
Greeks
other
and
of
one
chariot
Instead
popular
building,
of
legend
which
the
Mausoleum
sented
repre-
Lapithae
with
the
and
vigor,
the
of
mounted
which
balustrade
of
was
richly
in
now
British
(of
Mausolus
statues,
chariot
with
reliefs
and
of
race.
The
of
portraits,
Vitruvius
associated
the
of
the
three
wonders
of
the
world.
wife
his
which
are
lions
several
fine
frieze
of
senting
repre-
other
two
the
Centaurs,
and
Artemisia
emphasis
undue
Praxiteles,
sculptors
They
of
Mausolus
nieiitions
greatest
sculpture,
and
and
without
but
they
says
Museum.
fragments
Greeks
statues
with
horses
slabs
works
Halicarnassus.^
some
four
; many
Amazons
Pliny
decorated
the
other
other
at
represented
one
Nereids
and
Timotheus,
statues
Timotheus,
was
daurus,
Epi-
at
sculptures
mention
writers
which
real
evidently
are
are
colossal
panels
friezes,
which
several
Artemisia);
several
at
colossal
two
equestrian
and
building
remains
comprise
Ancient
"
Scopas
marvellous
the
some
Nike.
Leochares,
Bryaxis,
the
Athena
of
of
bright
for
Asclepius
and
the
figure,
models
and
one
in
Timotheus
groups,
life
of
remind
draperies
floating
temple
full
are
Zeus.
the
of
Amazons
of
ship,
workman-
him.
and
pediment
Bryaxis
group
toward
awaits
god
tenance
coun-
youthful
representing
with
forms
the
eagle
mediocre
remains
the
Greeks
of
The
dinging,
of
and
temple
acroteria,
parts
battles
the
the
by
marble
acroteria
The
B.C.
comprise
temple
of
the
upward
Zeus
the
made
sculptures
about
this
of
love
the
in
represented
gazing
garment,
Asclepius
with
work
famous
size
of
figure,
by
was
Thrasymedes.
represented
aloft
small
artist
the
have
other
of
though
how
recognized
been
has
Zeus.
(who
statue
seated
carried
Ganymedes
represented
A
of
that
resembling
and
which
draped,
dignified,
Leochares,
Epidaurus,
famous
"
Euphranor
were
chryselephantine
Other
Century.
century
made
as
SCULPTURE
Fourth
Bryaxis,
sanctuary
healing
the
of
painter),
The
OF
of
perhaps
the
age
because
with
this
GREEK
SCULPTURE.
THE
individual
that
but
and
thoughtful
is
exist
not
entirely
the
fourth
only
(Fig,
century
that
Phigaleia,
from
From
of
and
those
of
than
is
seen
drapery
and
reliefs.
in
reliefs
to
fill
have
the
among
not
four
met
here
of
the
fifth
void
have
too,
is
of
therefore
artists
with
the
noticeable.
been
mentioned
universal
frieze
made
to
by
acceptance.
in
admirably
than
expression
of
use
ing
float-
execution
and
uniform,
distribute
Pliny,
in
variety
In
not
are
to-
graceful
The
but
That
of
placed,
spaces
parts
these
Museum.
more
centuiy.
the
close
is
and
of
century
are
great
drapery
slender
faces,
fifth
loosely
is
the
more
The
the
figures
are
the
relief
British
they
of
although
extant
the
but
but
frieze,
of
There
are
work
charming,
Mnusoloum.
attitudes,
figures
the
design
attempts
have
and
the
earlier
the
numbers.
varying
weapons,
designed,
of
groups
costumes,
Frioio
Greek,
not
The
friezes
105)
page
crowded
almost
gether,
the
is
extensive
In
73).
and
preserved
Amazon
most
pressive,
im-
and
portrait
and
The
the
face
ruler.
delicate,
is
preserved,
better
admirable
Carian
fragments.
in
the
of
an
excellent,
dignified
are
type
produced
vigorous
friezes
smaller
is
The
has
artist
Greek
(e.g.
Mausolus
workmanship.
better
friezes
of
121
CENTURY
Both
peculiarities.
upon
of
FOURTH
the
their
many
slabs
results
of
the
122
show
figures
In
the
least
the
that
school
best
fourth
of
art
Temple
Artemis
of
of
one
its
open
the
drum
and
Scopas
in
this
methods
of
which
exhibits
frieae,
the
at
certain.
seems
and
sculpture
of
middle
is
with
to
the
give
figures
of
the
the
recalls
Tegea.
Alcestis
apparently
Thanatos,
good
the
armed
and
B.C.
from
idea
the
eyes
of
its
style
make
The
style.
Here
Praxiteles,
us
and
think
of
subject
between
was
is
of
Hermes
winged
the
says
by
temple
this
almost
Pliny
columns
of
temple
"
356
magnificence.
great
passionate
from
in
sculptured
drum
The
Epkes\ts.
at
bumed
was
sculptured
lipB and
heads
Artemis
thirty-six
preserved
grace
of
traditions
decorative
Epfaesus
at
rebuilt
Only
the
century.
The
one
influence
followed
are
of
qualities
SCULPTURE
OF
it is clear
at
general,
Attic
HISTORY
well
enough
the
quiet
Scopas
relief
that
Scopas.
though
of
mediately
im-
on
the
and
this
Psychopompus
personification
of
GREEK
death.
work
Another
of
art
THE
SCULPTURE.
with
Praxiteles
dus
the
in
British
impossible
the
with
beautiful
such
and
Museum.
general
as
eyes
from
which
works,
Such
the
associated
are
Demeter
dignifi"i
of
qualities
it
Cni-
yet
as
to
assign
to
any
definite
artist,
show
that
the
traditions
and
of
practices
Attic
the
and
school
the
the
which
joined
are
is
Scopaa
in
123
CENTURY
FOURTH
of
influence
Scopas(whowas
himself
strongly
influenced
the
by
Attic
were
powerful
in
Minor
in
Asia
the
school)
fourth
tury.
cen-
The
Sar-
copkagjis
the
of
Mourners.
An
"
Attic
exquisite
of
work
about
middle
the
of
fourth
the
tury
cen-
is
sar-
cophagus,
found,
with
several
others,
in
tomb
Sidon.
It
columns
derived
frieze
are
has
seated
the
which
which
(Fig.
of
75.
at
of
from
FiorBE
relief
74).
form
figures
female
"
name
Above,
representing
in
attitudes
Ionic
on
funeral
of
in
figures
of
Sarcophagus
the
edge
of
the
the
procession.
grief.
between
temple,
draped
are
the
small
of
Below
the
tudes,
atti-
pensive
'
Mourners
roof,
In
the
is
the
'
broad
gables
columns
is
124
in
hunting
OF
low
relief
SCULPTURE
decorate
the
between
columns
the
reliefs
Praxitelean
which
Attic
In
^aceful
grief
are
The
century.
75)
(Fig.
394
while
the
father
rather
than
the
presence
of
killed
in
of
the
show
influence
mistress
by
expressed,
In
dead.
grief
others
almost
bolized,
sym-
the
beloved
reliefs
but
clumsy
most
carelessly
wrought
beautiful
are
those
even
sentiment.
wife,
is
parting
vary
exquisite,
maid,
and
recalling
these
execution
of
these
and
husband
The
of
of
subject
life,
of
sculptures
the
The
and
hands.
battle
was
son,
clasping
fourth
monument
who
family
scene
the
as
Lysippus.
daughter,
friends
of
teresting
inan
qualiticH
later
restrained
through
reliefs
of
generally
and
two
the
the
and
Scopas,
is
mother
of
similar,
form
such
Dexileos,
of
some
Parthenon,
reliefs
are
that
retain
B.C.,
Praxiteles,
are
them,
or
Muses
yet
gravestones
among
Hegeso
of
their
extending
earlier
the
charming.
Attic
series,
instructive
Muses
varied,
especially
The
Gravestones.
and
or
female
statues
and
draperies,
they
the
of
their
"
the
The
on
and
are
of
of
one
Mantinea
related.
their
expression
remind
from
these
attitudes,
in
base.
scenes
figures
to
HISTORY
in
their
restrained
some
that
CHAPTER
GREEK
MI
Alexander
The
HELLENISTIC
THE
SCULPTURE.
PERIOD
The
Sarcophagus,
acder
led
to
Minor,
Asia
Greek
from
and
century,
formation
of
and
Syria,
art
Tralles,
the
begins
abandons
removed
to
the
the
in
the
Ephesus,
end
of
the
The
of
self-restraint
fourth
adopts
art
new
appear.
of
centres
Pergamon,
before
Even
spirit
methoils,
and
AJex-
kingdoms
Alexandria,
to
Rhodes.
new
semi-HcHenic
Egypt,
Greece
of
conquests
"
earlier
times,
new
appeals
and
directly
more
to
in
the
love
of
The
vanity.
personal
visible
to
of
latest
the
fine
portrait
the
Alexander
FtauHe
upon
70.
Aleianiler
"
(F^.
of
76,
SmrophaBut-
emotions,
the
spirit
new
found
sarcophagi
the
person
ConBtuntinopU
.Siclon,
at
Alexander's
because
sarcophagus,
it
appears
the
to
beginnings
are
called
splendor,
at
the
extreme
126
HISTORY
OF
This
sarcophagus
is
coloring
is
exceptionally
well
yellow,
and
left).
colors
the
are
brown
end
On
of
scenes
mouldings
battle
the
on
side
The
tiled
antefixes
couchant
The
roof,
adorned
and
gargoyles,
with
Clearly
the
these
battles
not
but
and
lively
with
Demoathenea,
77.
work,
but
minds
the
and
are
Attic
earlier
and
school
spirit
rulers
employ
hardly
is
is
best-
the
beautiful
Greek
It
art.
of
survives.
the
of
beginning
the
works
the
earth,
the
to
Greek
of
by
occupy
artists.
the
Hellenistic
"
distinguished
fourth
So
^^^^"^^
^^f ^(jjg
affected
kingdoms
are
of
Some
j^j^
be
to
great
talents
the
be
the
victories,
Spirit.
to
Jj^g^^jj^g
beginning
of
their
of Earlier
Survival
period
spirit
the
struggles
their
the
that
conditions
new
leum.
Mauso-
Vatican.
^^ju
idealism,
friezes
the
most
of
is
sional
occa-
the
of
one
and
monumcnts
"
The
of
of
sarcophagus
preserved
Fionu
form
action
of
and
This
brilliant
sented,
repre-
the
crowded,
Phigaleia
Yet
actually
The
reminiscences
of
ical,
typ-
are
in
combats.
typical
combats
they
as
happened,
tumes,
cos-
realistic
battles.
real
real
traits,
por-
various
merely
not
are
are
persons
Persian
given
represented
corners.
of
the
especially
accuracy.
and
evidently
details
are
fonn
with
chief
are
and
hunt.
the
its
guard
the
represented
but
lion
in
of
in
remaining
is
faces
kinds,
other
also
top,
lions
red,
and
the
on
its
and
and
end,
one
rich.
of
violet
remaining
exceedingly
are
and
high reljsf,
in
blue
Light
though
side
because
important
preserved.
one
and
hunt,
panther
The
are
especially
predominate,
employed.
gables,
SCULPTURE
the
from
century,
impressive
the
and
Themis
products
in
many
from
of
the
the
128
other
light
the
statue
exposed
is
view
motion
in
the
it
which
but
had
advanced
toward
of
Hellenistic
in
this
had
The
Niobe
and
The
are
35
finer
the
measure
valley,
picturesque
The
B.C.
Vatican
than
is
that
Id
statues
the
nf
a,
Ihr
Louvre.
of
is
to
Florence
figures
"
the
of
are
one
in
of
Floreace.
not
the
of
they
the
Ad
inferior
seems
and
these
the
reasons
the
though
Niobe
in
the
be
work
replica
temple
aarribed
from
but
the
of
group
shoulil
origioals,
daughters,
the
and
passion
place,
brought
wan
group
and
For
children
dying
of
Niobe
sentiment
period,
whether
the
Probably
replica
character.
doubtful
of
the
similar
some
Hellenistic
the
ap^ks
and
PraiiteleB.
to
or
28,
Rome,
or
in
to
of
an
attitudes
emotions
motion
arrangement
garden
violent
her
and
various
and
grace
Niobe
Niobe,
those
are
the
"
Artemis,
the
to
which
statues
is the
in
are
figures
the
of
and
Apollo
Here
with
assigned
at
is
qualities
of
century
strongly
appeal
pathetic
in
XXXVt,
Pliny.
Sonaa"
In
is
be
S""ps8
and
some
represents
statues
satisfactory
except
itself
must
and
most
impossible
"
of
drapery
it commemorated
series
fourth
by
extant
combined
Scopas.
it
and
Nike
of
head
victory
which
slain
daughter.
youngest
Praxiteles
to
The
death,
beholder.
Bogue
or
the
Florence,^
being
attendant.
group
the
interesting
"
in
slain
of
sea
attributed
children
her
where
the
at
up
the
in
present
are
high
An
Group.
formerly
life
stood
the
upon
now
in
which
Both
which
texture,
striking
two
as
even,
Symbolism
are
the
won.
Group,"
aged
picturesque
idea
of
treatment
centurj'.
be
to
figure
with
the
fifth
sculpture.
down
been
was
the
figure,
gazing
the
since
the
value,
Comparison
own.
of
The
nor
of
no
works
treatment
part
sliowshowgreatly
84)
the
independent
an
its
of
(page
tendency
of
has
in
intended
accessory,
Parthenon,
but
conception.
usual
were
by
mere
in
exquisite.
even
this
Lysippus
posture,
is
as
and
not
the
and
idealism
which
as
In
gone.
and
but
conveyed
here
of
form
parts
is excellent
is
sculptures
importance
the
are
served
Praxiteles,
uneven,
in
admirably
discloses,
of
it
is
Paeonius
but
of
details,
somewhat
size,
to
drapery,
in
arms
Scopas,
vigor
which
ship,
and
of
is
realism
colossal
of
head
There
execution
SCULPTURE
stylis of
qualities
great
exaggeration,
such
the
cross,
blended.
The
OF
Unfortunately
trophy.
are
HISTORY
aocieni
of
of
to
Minor
Asia
copies.
which
the
is
peda..
GREEK
SCULPTURE.
individual
the
figures
of
spirit
Works
been
Such
is the
Greek
original)
bronze
resemblances
But
the
and
that
statue
the
the
is
date
of
Naturally
the
produced
in
those
of
great
masters
which
earlier
Eubouleus,
an
of
Melos
an
the
Antioch
since
work
of
a
head
the
time
the
date
no
the
is
fifth
when
might
readily
fourth
century
hardly
be
the
artist's
be
determined
styles
combined
but
could
whether
without
it
of
is
the
that
the
of
be
Aphrodite
work
natural
to
fifth
third
found
was
to
proved,
recalls
the
assign
evidence.
statue
centuries
fourth
century
its
However,
drapery
some
281
and
of.
and
from
in
founded
the
the
Hellenistic.
Agesander
thought
is,
of
absolutely
and
"lefinite
claimed
disappeared
be
in
been
MJlo")
was
has
Praxitelean
century,
the
which
is
so-called
signature
city
It
the
famous
of
the
between
probability
cannot
281
clearly
all
inscription
statue
before
the
("Venus
has
considered
in
are
Melos
the
with
otherwise
both
Maeander,
Unfortunately
connection
to
bearing
the
on
B.C.
even
of
Aphrodite
and
been
of
adaptations
So
Rleusis,
at
to
century
later
century.
Praxiteles,
of
though
inscription
fourth
foun"l
has
79)
(Fig.
the
head
work
century,
With
of
marble
original
as
fifth
works
works
third
and
preserved,
are
century
imitated.
the
of
then
similar
distinguish
to
works
god's
Louvre.
fourth
the
and
tain
cer-
is
the
in
times
copied
century,
which
the
probable
works
later
impossible
traditions
of
in
deliberately
almost
of
the
more
now
artists
of
to
century,
numerous
and
fourth
it
of
Leochares.
of
Versailles,"
century
masters,
the
120),
make
third
great
of which
account
on
(page
the
of
the
third
often
of
copies
Diana
were
works
ascribed,
coiffure
of
of
pupils
the
their
therefore
or
the
"
century.
copy
self-consciousness
work
fourth
Roman
of
them
theoriginal
is
Ganymedes
exaggerated
survival
among
the
to
Belvedere,
been
the
several
Vatican
theatrical
his
"
reason
the
in
Tradiiiona.
show
period
the
has
the
to
almost
attitude
also
in
statue
Earlier
scholars
of
much
very
century.
of
that
some
Apollo
marble
the
for
by
assigned
famous
fourth
Hellenistic
and
executed
Survivat
the
the
the
129
PERIOD
and
of
art
shmo
of
traditions,
have
(for
Attic
which
earlier
conceived
are
the
works
Many
HELLENISTIC
time
or
after
later
The
the
can
upper
130
of
part
than
the
the
and
to
HISTORY
of
an
it, though
This
general
well
as
finer
(draped)
lower
part
is of
statue
OF
were
arm,
they
now
type
of
marble
and
left
part.
found
with
of
How
is
as
on
left
adapted,
perhaps
The
type
only
of
this
of
reason
its
and
its
and
works
of
one
known
admired
was
but
deservedly
widely
most
rested
sculptor
is, by
beauty,
great
the
goddess,
preservation
excellent
high
which
the
which
statue
the
invented,
by
rested
as
column,
not
the
arm
about
of
cippus.
probably
The
held
mirror
or
Ares.
should
statue
the
low
with
probably
shoulder
perhaps
tory,
Vic-
certain.
something
shield
of
or
not
and
drapery,
the
belong
may
particular
hand
upon
apple,
an
workmanship.
alone
restored,
right
wrought
representations
this
be
and
inferior
whether
Aphrodite,
holding
statue
for
employed
finely
more
hand
the
be
to
appear
was
as
SCULPTURE
of
erally
gen-
ancient
art.
The
Pergamoii.
exhibit
discussed
earlier
show
his
in
Asia,
works
many
chief
are
the
in
In
of
commemoration
of
whom
was
in
preserved
Dying
the
after
art
Gaul
Capitoline
having
to
To
copies.
(formerly
Museum,
his
of
Parts
Epigonus.
the
called
and
wife,
the
in
who
several
had
the
settled
he
caused
the
sculptors,
large
two
one
B.C.)
kingdom
victories
by
Per-
Galatians,
over
Gauls
these
created
marble
killed
of
of
be
powerful
victories
tribes
At
(241-197
of
works
spirit.
Attalus
established
by
Other
different
gamon,
survival
the
traditions.
a
just
statues
"
groups
belong
group
Dying
Gaul
National
Gladiator),
killing
Museum
self
him-
GREEK
in
SCULPTURE.
Rome.
These
least
at
group
and
high,
which
battles
Greeks
whole
entire
and
Giants,
number
of
The
National
and
their
two
delicate
blood
races
from
the
their
size
style
is the
than
lai^er
also
helps
same
lack
They
which
the
this
of
^/tar,
the
structure,
each
feet
great
Its
long.
feet
seven
the
upper
battle
the
of
m.)
part
of
the
is
no
subject
new
astonishing
high
"
relief
Four
Paris,
to
and
probably
as
Kift
variety
that
Naples,
Rome.
made
from
parts
three
They
at
KlllR
Perdamnn,
AttaluH.
by
much
the
in
and
of
in
are
Greek
art,
fertility
Venice.
ot
of
aJid
are
one
iiirhnps
before
the
nearly
The
square
frieze
the
it
is
treated
invention,
and
carved
entirely
brotiiea
Aix
(in
marble,
were
the
Galatians.
fierce
in
the
of
sjinboHzed
is here
each
over
adorned
subject
doubt
no
at
hundred
frieze
Asiatic
poaree-BTBined
erected
fragments
80).
but
figures
the
fitness
centuries.
one
smaller
with
Pergamenes
artistic
great
which
Giants,
works.
Many
(Fig.
Berlin
these
than
more
structure.
and
the
was
and
the
emotion,
B.C.)
Athena,
decorated
high,
fourth
(197-159
and
which
was
in
Gods
of
of
the
now
are
conflict
It
base
(2.30
frieze
great
side
and
but
extant.
are
II
Zeus
to
realistic.
rather
of
and
the
smaller,
of
fifth
school
Eumenes
altar
the
sense
more
Gaul
impressive
the
"
Pei^amon
especially
and
"
the
than
is
to
coarse
unkempt,
and
characteristics
of
stiff,
Dying
accuracy,
the
The
the
more
and
works
works
Greta
Vigor,
self-restraint
the
other
The
them
chief
the
are
ennoble
few
all.
style
in
group
their
superior
are
make
to
in
beauty,
figures
batants,
com-
In
skin
side
one
treatment.
wild
In
wounded
his
about
the
rougher
Persians.
The
defeated
in
are
coarser,
and
streaming
details
have
Amazons,
perhaps
mustaches,
Giants
the
iorquea;
Amazons
their
by
sented
repre-
Galatians.
and
realistic
are
originals,
Galatians.
or
feet
groups,
represent
Gaul
other
three
and
and
all
Dying
All
or
large,
the
the
Greeks
Persians,
the
distinguished
are
these
In
Amazons,
closely
of
group,
very
figures
Of
about
size
Pergamenes
was
extant
Museum.
Gauls
hair,
and
figures
Giants,
and
Gods
size.
are
the
of
Persians,
resemble
also
was
The
and
hundred.
they
ells)
life
They
bronze.
131
PERIOD
above
exist.'
figures
(two
of
were
somewhat
are
ten
this
HELLENISTIC
sent
with
in
such
in
the
Provence).
and
to
were
Athens
132
HISTORY
round.
The
in
the
of
Dionysus,
confusion
take
of
forms
in
part
the
sea
Giants
of
the
others
and
is
beasts.
The
the
eagl^
of
and
are
others
brought
that
the
entire
emphasized
of
kmdred
so
the
men
deities
Berlin.
PergsanoD.
are
groups
connected
throughout
continuous
be
to
appears
of
the
but
caim,
of
of
are
the
the
gods
and
in
has,
Apollo
lack
of
types
Apollo
faces
action
the
and
other,
of
the
frieze.
The
are
each
near
deities
legs, while
forms
that
it
are
Hecate
some
of
hybrid
are
panther
of
the
place
arranged
so
the
dogs
and
in
mingled
are
Zeus,
the
lion
serpents
still
beasts
accompany
her
on
biting
gods
of
animals
seated
and
winged,
and
Athena,
marine
writhing,
are
for
of
serpent
fray
SCULPTURE
beings
combat,
Cybele
have
human
of
the
OF
least,
at
pose
The
giants
self-restraint,
of
as
faces
and
their
points
salient
The
figure
resemblance
strong
divine
hatred,
befits
their
action.
by
animation
express
but
new,
heightened
Belvedere.
full
not
are
have
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
it
phon
of
Arcadia,
the
great
and
of
at
now
his
with
works.
of
walls
bis
skill
further
sometimes
decorative
for
in
be
origin,
practices,
devoted
are
as
he
execution
seems
His
of
to
works.
those
feeling
and
works
the
quality
formed
are
of
no
in
is
not
created
the
design,
have
He
who
continue
ments
Frag-
B.C.
Lycosura,
at
His
and
admirable.
something
He
his
of
does
to
Damo-
to
century
found
artists
andria.
Alex-
developed.
second
the
Where
Hellenistic
Hellenistic
contemporaries.
in
ings,
build-
perhaps
of
rate,
remains
nor
reliefs
to-day.
certain,
statues
such
Pergamon,
and
of
colossal
that
influence
conception
powerful,
walls
to
should
words
part
trees,
also
were
other
artist
of
all
Praxiteles
hair,
few
century,
plays
Here
our
any
many
an
group
are
frieze
at
picturesque
sixth
"
under
on
quite
not
in
picture.
apparently
was
Messenia,
of
of
with
Damopkon.
be,
to
seems
carried,
Rome,
is
originated
It
the
building.
Hellenic
surface.
pictures
the
classical
fastened
were
hang
the
backgrounds
which
we
custom
and
as
picturesque
as
purposes,
in
is
of
than
the
on
it
served.
pre-
dation
foun-
compared
landscape
the
plain
appear
panels
on
from
out
like
the
in
be
is
the
relief
may
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
It
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
and
human
group";
wife
arms
is
to
say,
movable
and
was
bead.
the
the
of
seated
deceased
at
his
form
"
the
is
feet.
cinerary
represented
A
still
was
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
The
of
ashes
back
ashes
portraits
the
cult
ash-urns,
or
vigorous
cinerary
artists
of
types
development
the
set
the
taken,
increased.
the
the
appearance
be
to
was
The
head
The
works
human
the
to
added
urn
the
art
sculpture
(Clusium),
becoming
soon
figure
of
which
seem
were
the
give
to
adopted
further
his
time
that
create,
this
to
they
first, but
of
with
Chiusi
form
vases).
mentary',
frag-
are
numerous
ei^tae,
At
in
urns
(Canopic
at
After
likeness
the
Hellenic
not
rude
the
of
large
progress
connected
the
centuries,
covers
temple
few
Greek
in
and
early
many
the
most
and
sarcophagi.
fifth
the
of
the
far
sarcophagi
small
temples
relief
high
these
progress
those
are
chiefly
of
that
selves
them-
of
growth.
By
etc.
sculpture
dead,
form
the
"
of
and
native
or
Greeks
roofs
in
Greeks,
Comparatively
show
to
by
the
the
of
Rome.
preserved,
rather
Cinerary
the
on
cotta
terra-
by
and
figures
suffice
they
determined
by
place
after
decorations
at
now
but
than
the
carried
monumental
pediments
the
were
Jupiter
terra-cottas
was
between
times
early
terra-cotta
Such
ol
Etruscans
The
up.
with
round.
the
by
it
adorned
in
practised
was
continued
was
the
for
fig:ures.
terra-cotta
each
making
"
were
art
and
Volaterrae
intercourse
of
death.
existence.
Terrorcotta
and
of
Arretium,
stone,
for
little
but
centres,
for
Caere
been
demon
Cortona,
were
Clusium
statues,
to
141
hideous
the
plastic
Tarquinii
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
about
Amphitrite;*
archaic
chiefly
of Neptune.
the
the
republic,
portraits.
AUar
of
life
show
greater
Pasiteles
of
real
the
decorated
once
days
is exhibited
in
the
fTont
important
the
are
exhibit
the
copies
the
of
is
Greek
of
They
possess
imitations
in
life
to
it
great
not
of
to
have
artists
do
years
style
and
history
famous
they
and
liked
illustrate
not
That
which
that
appreciated
Romans.
last
the
the
possess
empire.
Hadrian,
centuries,
some
but
Roman
in
art
under
statues,
were
the
of
patrons
of
copies;
under
art
the
upon
works
were
sculpture,
length
light
Roman
Augustus,
extent
oped
devel-
works
such
Greek
on
many
as
in
of
progress
the
centre
Romans
imitations
were
at
throw
they
only
the
was
Rome
times.
them
inasmuch
sculpture,
in
also
interest,
so
the
and
to
ornament
chapters
discuss
to
Rome
at
continued
at
earlier
in
necessary
but
relief,
almost
produce
white,
though
sculpture
in
oraament
mere
fonn
and
on,
degree.
famous
Greek
been
human
went
shadows
and
interest,
sculptors'
time
as
and
black
the
SCULPTURE
into
lights
in
regions
western
of
the
pattern
less
grew
that
of
OF
degenerated)
(or
executed
effect
HISTORY
new,
Scutpturt,
Mupich.
this
temple
have
reliefs
these
at
most
152
with
was,
11.50
and
sides,
was
an
below
that
On
the
the
of
Relief
historical
partly
in
frieze
of
The
his
the
but
side)
attendants
figure
mother
represents
especially
and
enclosure.
allegorical.
Florence.
Gallery,
the
representing
and
Peace,
each
at
the
partly
Uffiii
low
be-
cession
pro-
below
this
scrolls.
contains
the
great
which
Peore.
Earth
children,
small
of
goddess
floral
her
the
manner
(south
Altar
inside
IrMrania
stood
of
reliefs,
great
the
pattern,
comers
iconographic,
of
beside
two
the
representing
works,
holding
tive
from
conventional
Water
Greek
the
at
of
On
Pilasters
sides.
other
from
meander
marble.
series
and
honor
group
and
fluted
the
on
and
(east
suspended
rich
feet)
about
high,
entrance
carvings.
garlands
and
was
35
feet)
20
the
on
with
out
was
entrances
outside
(roughly
m.
long
and
of
which
band
of
side
inside
SCULPTURE
(roughly
m.
frieze
upper
(ox-heads),
feet)
38
10,50
adorned
was
OF
about
base,
(roughly
m.
west)
It
its
HISTORY
{Terra
many
of
herself,
affectionately
Earth
us
the
Air
with
of
svinbolizes
of
Tellus)
or
reminiscences
in
all.
The
part
his
emperor,
interesting,
and
new
as
it
of
earlier
attrao
the
family,
contains
frieze
and
many
ROMAN
portraits,
of
most
which
(Fig.
86).
excellent.
The
least
(north
effect
at
portraits,
feature
of
effect
the
the
of
official
crowded
are
them
in
cession
pro-
and
the
great
part,
identified.
are
frieze
and
space
by
of
projection
figures
the
evidently
are
few
though
attained
varying
the
this
of
perspective
faces
figures
and
ingenious
is
portion
the
satisfactorily
yet
here
ing
interest-
peculiarly
the
here
The
rate,
any
is
for
side),
not
is
grouping
interesting
monotonous.
however,
are,
The
identified
153
SCULPTURE
especially
"
heads
from
the
"
which
background,
all
not
Such
in
in
of
extent
dimensions
be
hardly
to
earlier
relief
Another
the
is
found
in
sculpture.
innovation
is
of
representation
which
eyes,
in
direction
makes
face.
sion
expres-
where
two
or
are
persons
be
to
same
lifelike,
more
especially
more
the
the
much
ways
al-
the
as
in
the
not
are
turned
This
self
it-
plane.
one
effect
an
three
is
posed
supin
engaged
conversation.
The
considered
as
balance
the
to
be
other
little
overcome
is
real
and
observance.
of
the
unity
in
later
in
turn
do
by
and
composition.
Roman
of
in
the
This
reliefs.
properly
not
the
upon
Earth
sacrifice
general
when
good
less
backs
group
balanced
offidal
but
their
The
entrance
the
detail,
processions
two
both
insufficiently
side
in
The
other,
religious
companions
at
whole.
each
of
scenes
was
is excellent
composition
there
serious
and
of
her
a
pig
seems
defect
154
scrolls
The
there
design
details
the
are
the
here
evident
"
is
found
among
and
kinds
and
reliefs"
which
panels
are
of
and
represented
a
as
landscape
background
detail.
Such
smaller
frieze
of
are
further
they
but
pictorial
beings
The
attitudes
locks.
scholars
These
archaistic
have
they
revert
of
of
and
of
an
Pasiteles
the
and
Ara
realism
the
(see
is
of
the
but
the
in
seen
which
edifices.
like
with
of
the
Period.
Augustan
in
that
which
tendency
statues
to
the
buildings
charm,
same
the
and
work.
arranged
school,
belong
the
school
period.
same
In
to
the
reliefs
"
have
portraits
is
Roman
The
the
folds,
contains
certain
In
Greek
divided
the
133),
page
Victories,
archaic
pre-Raphaelite
136),
in
identify
compared.
page
Pacts
republic,
the
style
Statues
seen
to
in
seen
age.
with
of
variety
(see
often
the
"
great
hair
"
and
sort
deities,
the
action
significance
the
sharply
and
decoration
already
of
torial
pic-
former
The
Augustan
of
possess
been
earlier
the
background
of
of
"
architectural
great
no
the
to-day.
imitation
tried
silver
different
the
Fergamon
figures
reliefs
their
with
at
stiff,
the
The
for
are
regular,
The
often
to
Busis
in
have
paintings
of
in
in
somewhat
which
the
the
carved
falls
are
artificial
altar
period
for
something
great
period,
of
other
used
elaborated
developed
are
drapery
of
the
Augustan
thb
backgrounds
reliefs
"Neo-Attit"
human
is
of
ties,
quali-
same
least,
Two
pictures
or
cow,
the
reliefs."
usually,
even
ture
sculp-
"
been
use
able.
remark-
Reale.
regard
no
we
often,
driving
peasant
or
is
decorative
say,
at
to
have
and
skill.
sculpture
the
"Neo-Attlc
to
little
is
Bosco
ascribed
the
somewhat
setting,
be
to
some,
Reliefs.
seem
with
walls,
of
of
from
to
are
is
reckoned
NeoAUic
reliefs
flowers
Decorative
monuments
be
vessels
other
of
that
to
are
Pictorial
exhibiting,
In
and
care
and
development
87).
garlands,
symmetry,
greatest
leaves,
(Fig.
other
on
which
cups
admirable
kind
same
fruits,
and
grace
the
the
excellence.
surpassing
utmost
with
the
and
new
is
is the
of
of
are
elaborated
naturalism
A
bucrania,
the
friezes
"
general
SCULPTURE
"
floral
the
and
OF
decorative
purely
The
HISTORY
all
the
individualism
the
busts
and
statues
of
the
last
the
busts
and
statues
of
the
Augustan
years
ROMAN
period
is
likely
are
due
undoubtedly
which
led
style.
tiie
to
Porta
style,
effect
cuirass,
with
legends
appearing
few
much
is
Greek
from
Augustus
of
not
the
earlier
strong
so
as
is
A
busts
which
life
earlier
influence
is
circle,
if
metal,
in
the
the
of
statue
pronounced,
as
admirable
children,
of
his
Roman
admired.
universally
which
and
The
its
in
the
This
of
coldness.
wrought
in
su"Bciently
an
academic
is
academic.
Augustus
adaptation
or
88),
of
taste
example
though
produce
to
the
imitation
(Kg.
and
generalized
more
to
famous
Prima
be
to
155
SCITLPTURE
of
there
and
viduality,
indi-
belong
this
to
period.
Other
of
monuments
the
time
and
his
of
Augustus
immediate
cessors
suc-
exhibit
in
the
degree
ing
vary-
teristics
charac-
mentioned
connection
with
of
sculptures
Pads,
of
of
the
confined
not
found
most
extant
knowledge
in
of
ISrCT
dimensions,
of
events
to
"""
"jrCti.""
the
its
and
its
provinces
works
suffice
qualities.
almost
an
official
of
give
Some
In
art
relief
which
by
art
monuments
but
neighborhood,
well.
Augustan
to
Such
immediate
as
in
espemlly
celebrated.
were
Rome
distant
remains
of
three
development
and
persons
"""
and
ard
tow-
treatment
and
great
the
light
advance
works,
that
new
an
the
are
nature,
of
shade,
are
careful
are
effects
Ara
important
which
study
the
the
most
of
in
clear,
works,
spite
have
if
of
the
fact
disappeared,
not
exhaustive,
especially
in
the
156
HISTORY
provinces,
second
the
real
Flavian
the
the
and
the
Flavian
which
important
most
The
triumphal
with
the
on
utensils
Itome
and
the
Roman
the
figures
carved
between
pass
of
the
in
the
in
angles
The
the
to
the
against
side
of
remaining
neither
are
the
the
well
the
brilliant
of
preserved
nor
of
arch
right
marching
of
spective
per-
reliefs.
but
interesting,
are
is
at
these
important
so
effect
the
science
artist
arch
this
he
to
air
panels
and
seem
the
and
an
these
advancing
Evidently
the
to
sculptures
so
soldiers
the
both
light
one
be
to
arch.
the
in
horses
appear
and
unknown
was
The
of
of
89),
sacred
panels
hi
produce
to
gorical
alle-
(Fig.
both
that
defect
the
chariot,
the
and
so
help
chief
horses
chariot,
In
and
The
arrangement
people
bearing
depths,
them
about
his
includes
conveyed,
different
at
these
Titus.
represent
which
Jerusalem.
works
Of
of
in
Roman
under
in
Arch
emperor
soldiers
at
reality.
other.
the
emperors,
a.d,).
the
escort
an
was
felt
archway
the
admirably
is
and
and
space
seen
temple
motion
of
the
side
and
side,
of
from
are
of
of
of
tus
Augus-
there
studied
(81-96
reliefs
one
other
impression
are
sought.'
of
Julian
best
or
works
remains
death
themselves
a.d.)
vault
on
"
his
by
figures
and
the
procession
Victory
made
the
few
the
Domitian
are
under
panels
under
rudely
be
to
are
the
the
such
Apparently
diange
(69-96
in
relatively
Domitian.
under
are
not
period
between
which
dynasty
it is
of
style
others
the
are
time
of
or
finished
were
the
the
influences
new
of
art
"
from
progress
and
but
There
principate
marked
no
the
Hellenistic
the
executed,
of
qualities
Sculpture.
and
in
B.C.,'
and
dating
sculpture
SCULPTURE
conceived
centuries
designed
carelessly
that
still
are
and
first
OF
these
as
two
panels.
works
Other
panels
admirable
"The
evidently
BO
far
1915.
"
Buch
Paris
Reaie
of
G.
qualities
of
cameos
aa
the
have
exhibit
in
youthful
the
n{
the
be
coueerned,
of
family
a
Greek
Journal
American
Richter.
altars
on
varying
York,
might,
Augugtua.
work
of
and
degree
New
Museum,
Metropolitan
member
are
A.
in
of
the
fourth.
XIX,
Archat"ito(ni.
121-i2K.
pp.
The
and
M.
reliefs
chiefly
"
"
statue
a
technique
and
See
d,c.
period
monuments
bronie
portrait
style
as
century
this
of
various
from
the
Aueuetan
"Grande
"Gemma
already
Augusta"
been
mentioned.
art
are
in
seen
in
Camte"
in
Vienna.
xmall
many
the
Biblioth^ue
The
silver
notably
works,
vasea
of
ia
in
NatJonalo
Bosco
ROMAN
the
of
qualities
of
the
Syrian
historical
varying
the
of
faces
Sculpture
of
time
Column
of
of
important
Iloman
some
work
portraits,
in
pleasing
busts
head
clude
in-
of
and
the
neck.
careful.
usually
as
reality,
those
the
the
is
reliefs,
In
what
some-
before.
Time.
Trajan's
The
chief
sculptures
extant
"
(98-117
and
Trajan
forum,
whereas
than
the
of
portrait
line,
more
and
in
Trajan
works
purely
little
modelling
than
breast
of
time
same
Flavian
the.
wrought,
illusion
an
the
at
The
the
expressive,
are
the
the
shade.
include
time
and
fanciful,
arrangement
produce
to
as
and
the
Purely'
and
skilfully
and
carving
Graeco-
art.
delicate,
and
vigorous
distance,
and
light
rounder
of
the
shoulders
Augustan
general,
is
Roman
realistic,
once
managed
so
and
of
variety
The
of
being
depth,
at
relief
depth
figures
of
is
into
spirit
coming
from
apparently
"
new
the
Evidently
brought
"
work
decorative
sculpture.
dynasty
sources
and
Flavian
Flavian
157
SCULPTURE
are
numerous
decorative
the
the
a.d.)
Arch
reliefs
on
the
reliefs
Beneventum.
at
portraits,
carvings.
are
two
the'
Other
balustrades
several
of
statues,
in
the
and
158
The
reliefs
in
metre
in
is
Trajan's
and
the
is
of
one
column
the
the
central
of
fierce
in
army
the
fighting;
whether
the
scene
of
combat,
Dacian
or
The
victors.
winds
The
Dacians.
figure,
represent
encamping,
observance,
Roman
They
the
marching,
stores,
the
shaft.
lofty
about
which
long,
metres
against
ware
everywhere
to
200
band
occupy
than
more
two
religious
surrender
SCULPTURE
OF
about
moving
seen
emperor
is
of
curve
detail
great
HISTORY
height
spiral
scenes
divided
not
are
'BruclcDiBiiD.
visible
by
chief
indication
of
figure
the
depth
In
fact,
another,
not,
the
of
carved
nowhere
figures
are
in
the
in
the
produce
to
air
The
action.
and
reliefs
relief
varies
really
high
illusion
sented
repre-
dicates
in-
setting
in
depth,
relief,
and
and
of
space
light
here
is
of
the
of
scenery
change
The
repetition
actual
care,
are
as
thus
the
often
the
and
allowing
the
is
scene
continuous.
is
composition
though
attempt
no
by
new
change
figures
is
the
emperor,
great
also
there
of
the
with
but
but
barriers,
400
to
side
placed
of
between
pass
the
by
Am
side
Pads,
the
or
one
in
figures.
above
different
IdS
The
reliefs
in
is
the
is
of
one
the
Roman
They
the
marehing,
central
Dacians.
of
fierce
victors.
in
army
the
fighting;
combat,
The
winds
The
whether
figure,
represent
encamping,
observance,
the
shaft.
lofty
about
which
long,
metres
agauist
wars
everywhere
to
FuvRB
the
200
band
occupy
than
stores,
religious
surrender
SCULPTURE
column
more
two
moving
seen
emperor
is
Trajan's
curve
detail
great
of
and
OF
about
spiral
HISTORY
height
in
metre
the
of
or
scenes
Dacian
divided
not
are
scene
Relief
90.
"
by
visible
chief
of
the
with
there
is
depth
by
In
fact,
another,
new
not,
the
thus
of
air
figures
are
in
the
The
in
the
produce
and
light
here
reliefs
to
of
the
is
of
relief
varies
really
high
illusion
of
between
side
placed
by
Ara
of
scenery
change
pass
The
repetition
actual
carved
to
continuous.
the
the
action.
nowhere
are
as
often
care,
allowing
the
is
scene
and
attempt
no
is
composition
though
change
figures
the
the
emperor,
great
also
but
of
indication
figure
but
barriers,
side
Pads,
the
sented
repre-
dicates
in-
setting
in
depth,
and
relief,
and
space
the
figures.
above
or
one
in
different
ROMAN
vertical
planes
from
the
their
action
would
not
that
so
form
be
etc.
the
is
"
the
could
action
size
the
of the
of
Details
with
almost
be
lack
some
continuous
for
narrative,
of
in
the
of
arch
toward
the
bounty
they
the
of
of
excellent,
are
expressed
works
"
activity
and
equals
lesser
compositions
among
of
"
that
there
of vigor
and
in
of
column
of
clearness
seen
that
and
who
also
reliefs
of
busts,
and
time
of
of
the
purely
the
in
scenes
but
style
their
rather
decorative
is
Other
of
remains
excellent
they
meaning
colmnn.
was
sembles
re-
than
execution
their
Trajan
produced
those
significance,
In
which
those
policy,
Titus,
Trajan,
with
in the
the
arch
the
on
The
and
of
and
way
passage-
those
and
in
panels
the
the
home
connected
separate
erected
policy
reliefs
Beneventum.
are
emperor's
successful
Trajan's
nation
combi-
time.
Beneventum,
fronts
may
truth.
or
in
the
at
there
appropriate
present
of
sculptors,
figure composition
the
with
town
reliefs, statues,
show
execution
policy,
panels
the
length
provincial
the
the
rendered
vast
"
in
the
relief
both
adorned
reliefs
distributed
are
that
that
the
in
represented
to
other
absurd.
as
(sometimes
his
On
his
perfect
and
are
peculiarly
use
arch
celebrating
country
his
archway
rule.
Rome
their
in
sight
commemorates
The
richly
served,
pre-
reduced
trees,
lack
no
is
to
commemorates
is
towards
front
Trajan
his
prising
sur-
that
results
its
In
is
even
Dacians.
A.D.,
benefits
the
methods)
the
113-114
there
in
of
over
but
remained
other
of
repetition.
has
with
were
expression
spite
here
column
victories
in
style employed
and
with
The
for
dencacy,
city walls,
Ss^jEhok,.lhiajxlie"-"xhibits
resourcefulness,
oT exact
ings.
surround-
and
first
at
one
facial
accuracy!
monotony
no
This
and
action
therefore
buildings,
and
local
small
so
has
else.
impress
armor,
be
artist
diminutive
landscape
painstaking
The
of
the
the
proportions
would
The
its
detail
great
true
men
seen.
costmne,
agnderful
Is
the
the
everything
though
clearness,
features
of
be
not
of
if
but
hills, trees,
"
in
another
beings
whole,
of
topography
But
figures
the
than
human
indication
represented
accuracy.
The
of
without
Accordingly
bridges,
theme
farther
really
surface.
the
clear
is
one
outer
extreme
159
SCULPTURE.
larger
period
examples
reliefs.
of
158
The
reliefs
in
metre
in
is
Trajan's
and
the
of
to
the
Roman
They
the
marching,
central
Dacians.
of
fierce
victors.
in
army
the
fighting;
combat,
The
winds
The
whether
figure,
represent
encamping,
observance,
the
shaft.
lofty
about
which
long,
metres
against
wars
stores,
religious
surrender
the
200
band
occupy
than
more
two
SCULPTURE
column
everj-where
is
one
OF
about
moving
seen
emperor
is
of
curve
detail
great
HISTORY
height
spiral
the
of
or
scenes
Dacian
divided
not
are
scene
(BruDQ-BruckmuDn,
visible
by
chief
of
indication
of
figure
the
great
also
the
is
depth
by
In
fact,
another,
new
of
air
allowing
the
not,
figures
as
thus
are
in
the
The
in
carved
the
produce
and
light
here
reliefs
of
change
relief
varies
really
high
illusion
of
by
side
the
Ara
side
Pads,
the
sented
repredicates
in-
setting
in
depth,
relief,
and
and
space
the
pass
placed
of
is
scenery
between
to
of
repetition
actual
The
continuous.
the
the
action.
to
attempt
no
often
the
and
nowhere
are
is
scene
care,
is
composition
though
change
figures
there
the
emperor,
with
but
but
barriers,
400
figures.
above
or
one
in
different
vertical
planes
from
the
their
action
would
not
that
so
extreme
be
the
etc.
is
"
could
action
size
the
of
clearness,
Details
with
almost
of
Is
be
landscape
some
continuous
for
narrative,
with
The
in
of
the
front
of
arch
his
that
the
of
relief
excellent,
are
expressed
works
"
activity
and
equals
lesser
compositions
among
of
"
the
that
are
of
column
clearness
in the
that
sculptors,
figure composition
and
the
who
also
of
of
busts,
and
of
produced
of
purely
those
their
the
in
scenes
but
style
execution
decorative
is
Other
remains
excellent
they
meaning
column.
was
sembles
re-
than
rather
their
Trajan
those
significance,
In
the
the
on
policy,
Titus,
which
and
way
passage-
The
and
reliefs
time
erected
the
and
Trajan,
with
emperor's
those
"
in
arch
nation
combi-
in
policy
home
panels
of
or
appropriate
in
reliefs
may
truth.
time.
and
connected
the
vigor
successful
Trajan's
separate
there
Beneventum,
Beneventum.
seen
of
there
length
the
of
reliefs, statues,
show
rendered
are
present
at
with
town
panels
the
the
policy,
the
in
the
other
absurd.
as
(sometimes
use
provincial
reliefs
distributed
are
of
the
in
perfect
and
sight
peculiarly
fronts
both
adorned
his
no
arch
celebrating
to
in
vast
lack
his
On
richly
bounty
their
reduced
trees,
commemorates
The
rule.
country
represented
that
his
served,
pre-
that
execution
is
to
commemorates
Rome
the
archway
Trajan
its
In
is
even
Daeians.
is
towards
toward
they
methods)
A.D.,
benefits
the
there
in
the
113-114
but
remained
has
of
of
spite
here
other
over
in
style employed
and
prising
sur-
were
expression
repetition.
delicacy,
column
victories
for
oT exact
lack
with
Ss"ajEhQl""-llliaj:elie"-exhibits
accuracy.
monotony
and
first
at
facial
and
city walls,
results
buildings,
one
action
therefore
This
and
ings.
surround-
small
so
has
else.
impress
armor,
be
artist
diminutive
resourcefulness,
The
of
the
painstaking
no
The
local
proportions
would
men
seen.
costmne,
agnderful
the
its
detail
great
true
everything
though
of the
features
of
be
not
the
if
the
but
hills, trees,
"
in
another
beings
whole,
of
topography
But
figures
the
than
human
indication
represented
accuracy.
the
The
of
without
Accordingly
bridges,
theme
farther
really
surface.
the
clear
is
one
outer
form
159
SCULPTURE.
ROMAN
of
a
larger
period
examples
reliefs.
of
158
The
reliefs
in
metre
in
of
is
and
the
moving
seen
is
emperor
of
one
FloCRE
the
OQ
"
visible
chief
of
figure
great
also
the
figures
there
is
depth
by
In
fact,
another,
care,
of
air
not,
figures
as
carved
are
in
the
and
in
the
light
here
reliefs
to
of
Dacian
divided
not
400;
of
is
scenery
of
varies
really
high
illusion
of
between
by
Ara
The
repetition
relief
side
the
of
or
change
pass
placed
scene
continuous.
actual
The
produce
the
the
are
the
often
the
action.
to
allowing
the
thus
nowhere
are
attempt
no
and
whether
is
the
though
army
(Brunn-BruckmuDn,
composition
is
in
fighting;
scenes
Trajan.
scene
winds
The
combat,
The
oT
new
change
fierce
represent
Dacians.
figure,
of
the
emperor,
with
but
but
of
the
central
Column
the
barriers,
indication
the
victors.
Roman
They
encamping,
observance,
Rplicf
90.
by
the
which
long,
shaft.
lofty
about
metres
marching,
everywhere
to
200
against
wars
stores,
religious
surrender
the
band
occupy
than
more
two
SCULPTURE
column
about
curve
detail
OF
Trajan's
height
spiral
great
is
HISTORY
side
Facia,
the
sented
repre-
dicates
in-
setting
in
depth,
relief,
and
and
space
the
figures.
above
or
one
in
different
vertical
planes
from
the
their
action
would
not
that
so
extreme
be
etc.
"
the
is
"
the
could
action
size
the
of
of the
Details
with
of
be
costume,
lack
some
The
continuous
for
narrative,
of
The
in
the
the
of
arch
his bounty
archway
they
of
the
of
expressed
works
"
equals
lesser
compositions
activity
of
among
"
the
the
that
Beneventum.
of
sculptors,
figure composition
of
clearness
that
and
who
also
of
of
busts,
and
of
produced
of
purely
the
in
those
scenes
but
significance,
their
In
style
they
execution
meaning
of
remains
excellent
decorative
is
Other
column.
was
sembles
re-
than
rather
their
Trajan
those
policy,
Titus,
the
the
on
The
which
and
way
passage-
those
"
and
reliefs
time
erected
the
and
Trajan.
with
in the
the
arch
nation
combi-
emperor's
in
in
panels
the
column
reliefs, statues,
show
connected
separate
in
policy
home
Trajan's
of
are
or
time.
and
reliefs
may
truth.
appropriate
successful
fronts
with
town
seen
of vigor
Beneventum,
policy,
panels
of
and
excellent,
are
the
relief
both
there
the
at
there
length
present
provincial
the
in
rendered
(sometimes
the
arch
adorned
reliefs
distributed
are
that
that
the
in
represented
to
other
absurd.
as
are
peculiarly
his
On
his
perfect
and
sight
commemorates
celebrating
country
in
vast
lack
use
to
The
richly
reduced
execution
no
is
in
even
rule.
Rome
the
is
remained
its
In
here
Trajan
his
of
spite
commemorates
is
towards
toward
in
there
Dacians.
A.D.,
benefits
front
of
over
113-114
the
but
methods)
other
column
victories
for
style employed
with
their
that
expression
repetition.
has
served,
pre-
5sna^.ffiholfi*JJlia_ielie"-exhibits
dencacy,
and
prising
sur-
were
trees,
first
at
facial
accuracy]
or"exact
with
results
buildings,
and
armor,
and
therefore
This
one
action
city walls,
small
so
has
else.
impress
resourcefulness,
ul
artist
diminutive
landscape
be
and
ings.
surround-
pi:oportions
would
The
local
its
detail
great
true
men
seen.
the
monotony
no
the
the
everything
painstaking
agnderf
IS
almost
though
clearness,
features
of
be
not
if
the
but
hills, trees,
"
in
another
beings
whole,
of
topography
But
figures
the
than
human
indication
represented
accuracy.
The
of
without
Accordingly
bridges,
theme
farther
really
surface.
the
clear
is
one
outer
form
159
SCULPTURE.
ROMAN
larger
period
examples
reliefs.
of
160
under
Sculpture
of
methods
revival
from
panels
other
an
in the
seen
The
of
Rome
at
this
at
and
but
types,
The
the
reliefs
the
the
of
the
sarcophagi
the
This
of
shade
but
behind
the
them.
remember
that
period,
but,
of
admirably
done,
Roman
vast
German
of
given
survey
by
Mrs.
Strong,
with
enthusiastic
Ludwig
Roman
of
of
the
von
field,
with
Sybel,
Sculpture,
appreciation.
in
Die
special
Chriatliche
pp.
and
of
and
light
shadows
deep
but
must
we
sarcophagi
the
of
artists
On
some
decorations
are
which
appear
rival,
renaissance.^
interesting
an
collected
done
space,
the
similar
Cupids
or
Italian
Institute,
the
and
from
be
to
artisans.
mere
those
freed
happy,
carved
Hadrian.
whereas
the
distinguished
part,
Erotes
is
and
garlands
offer
material
Archaeological
Robert
is
and
sarcophagi
mass
most
time
those
excel,
even
this
the
of
are
Greek
classic
effects
always
part
figures
depth,
from
period
most
almost
of
out
designed
often
the
for
stand
the
seem
strong
is not
who
not
sarcophagi
or
result
those
probably
were
figures
The
illusion
an
popular
this
of
time
often
column
sarcophagi,
of
however,
not,
the
after
low,
are
be
produce
to
of
for
the
to
that
as
modifications.
on
adaptations
to
as
same
individual
Trajan
does
creating
rather
making
by
of
high
so
are
purpose
distance,
The
belongs
column
relief
represent
or
composition
is the
sarcophagi
which
the
restored)
wrongly
centuries
some
Roman
imitations
background.
for
for
two
empress,
chiefly
mythology.
obvious
frequently
and
reliefs
Greek
the
the
Conservatori),
only slight
in
centuries
are
an
is
style
Hadrian
time
with
from
scenes
the
seen
elsewhere.
decorated
are
head
with
under
appears
were
the
Here
style"
"continuous
which
but
Beneventum,
at
dei
of
and
imitating
reliefs
Museo
also
was
fourth
and
apotheosis
employed
there
of
fifth
the
the
(Hadrian,
arch
Trajan
Hadrianic
in
proclamation.
of
(now
represents
emperor
making
the
The
progress.
and
custom
of
style
arch
an
which
of
one
earlier
examples
Excellent
B.C.
of
Greek
the
adapting
the
of
works,
effective
and
real
successfully
were
years
Hadrian
Under
"
little
made
previous
dignified
marked
SCULPTURE
Sarcophagi,
sculpture
the
produce
OF
Hadrian.
A.D.)
(117-138
to
HISTORY
254-267,
field
great
antiken
for
themselves.
in
study
publication
of
the
Sarkophagreliefs^
reference
Aniike^
discusses
to
by
Christian
Vol.
II,
Hadrianic
Imperial
Carl
sarcophagi,
pp.
165-225;
sarcophagi
162
This
but
was
also
and
other
undercut,
use
in
sometimes
of
statue
the
It
in
down
to
The
Severus
the
Third
has
as
drill
chisel
large
from
also
that
in
stands
of
bronze
equestrian
stiff
form
of
that
statue
the
deeply
of
agi.
sarcophin
ure,
meas-
shadow,
the
equestrian
the
the
clumsy
is
on
of
on
traits
por-
as
contrasts
bronze
The
spite
hair
even,
depth
of
well
noticed
the
manner.
which
the
and
Rome,
at
eyes
as
strong
been
increases
the
irb,
supplement
somewhat
the
the
already
to
is impressive,
only
round
produces
Aurelius,
and
us
the
undesirable
an
Kome,
the
the
In
empire.
which
Marcus
emperor
is
the
is noticeable
such
of
supplant
to
in
It
shade,
The
bill
works
method
and
of
only
not
monuments,
many
parts
is carved.
pupil,
light
other
SCULPTURE
OF
of
period
in
HISTORY
Capitoline
attitude
the
has
of
horse.
come
antiquity.
Ceniury.
(193-211
a.d.)
the
During
"
and
for
the
reign
most
part
of
Septimius
throughout
the
third
of
light
side
and
shade
in
combination.
and
forum
but
the
century
(203
the
reliefs
the
for
of,
stronger
the
groups.
of
reliefs
numerous
of
sarcophagi
"
include
and
of
of
many
from
in
iting
exhib-
this
the
in
thb
are
closer
in
seen
period.
period
are
interest.
great
panels,
differ
Trajan
and
qualities
Similar
(all fragmentary)
The
Sarayphagi.
of
shade
by
Roman
into
They
column
and
the
divided
style.
light
of
side
in
Severus
reliefs
the
instance,
other
of
effects
strong
employed
are
arch
continuous
effects
composition
official
observed
with
the
and
style
The
is covered
in
composed
continuous
already
A.D.)
163
SCULPTURE
ROMAN
very
The
com-
FiovBB
93.
Achillei
"
position
but
the
often
is
decorated,
arches,
in
decoration
style,
third
of
their
the
the
pagan
at
or
arches,
to
some
early
be
of
as
derived
the
Christian
contemporaries,
real
are
reliefs
of
or,
niche
seems
century
but
figure
each
of
continuous
most,
under
well
as
sculptors
even
the
of
other
East.
are
the
are
entire
and
figures
two
The
carved
features
Even
in
the
scenes
of
the
tian,
Chris-
obviously
followed
when
tion
execu-
columns
arch.
certain
sarcophagi
in
which
of
group
each
from
skill
some
or
effect,
covering
niches
Vatican.
confused
and
sarcophagi
succession
single
standing
thb
with
with
producing
the
The
Sarcophugua.
originality
some
Among
not
but
side,
show
93).
Roman
overcrowded,
reliefs
(Fig.
Pentheailea
afid
methods
from
tba
164
HISTORY
Bible
Good
the
the
in
is
early
excellent
an
representing
which
have
the
been
empire,
Greek
the
are
found
in
really
fine
though
models,
of
works
of
of
many
be
changers,
them
of
bull,
of
parts
of
classical
by
somewhat
are
the
most
western
inspired
art,
practised
Some
a
and
ployed
em-
catacombs.
money
slaying
northern
the
or
The
those
kind.
this
Mithra
god
the
to
argentarii,
work
of
from
continued
the
art,
types.
developed
of
instance
pagan
pagan
paintings
of
gate
example
reliefs
by
sculpture
The
success.
from
bodily
are
Christian
decorative
Purely
with
types
for
figures,
influenced
Christian
distinctively
adopted
are
clearly
are
Some
represented.
Shepherd,
others
and
be
to
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
decoration
and
etc.),
of
confines
the
of
of
art
and
the
the
of
and
Sicily,
influence.
It
is
early
Middle
little
originality.
in
Conditions
not
were
centuries
retain
to
therefore
Europe
the
before
everywhere
in
of
than
more
part
ancient
elements
the
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
stars,
dwelling
Eleventh
same.
the
and
Goths
strengthened
half
by
six-rayed
surprising
not
seems
belong
something
further
Spain,
Ages
which
power,
interlacing
everywhere
was
work,
varied
themselves
Empire
Arab
the
of
the
of
appeared
decorative
goldsmith's
weapons,
when
they
Byzantine
of
(rosettes,
were
When
Asia.
rise
Africa,
Europe
western
conquests.
kind
sometimes
learned
West
already
was
consisted
oriental
probably
were
invaders
be
to
seem
the
the
of
which
part
most
overran
barbarian
Some
animals.
eastern
northpire.
Em-
the
Empire
them
to
Their
jewellery.
the
the
chiefly
applied
for
sculpture,
with
the
Empire,
to
survive
not
barbarians
of
art
Sweden,
Austro-Hungarian
Roman
end
an
Ireland
and
barbarians,
fierce
put
could
which
art
Constantine
Norway,
Russia,
the
the
The
name.
deteriorating,
The
of
finally
of
and
attacked
race,
provinces,
of
except
Isles,
part
Germany
hordes
vast
time
Europe,
British
northern
the
of
all
the
of
part
Germanic
in
included
northern
the
At
"
Empire
But
of
Barbarians.
of
regions
ITALY
SCULPTURE.
Invasions
the
XI
artiste
for
and
to
(toKCL
174
continued
East
the
learned
confined
Perhaps
the
Maria
in
Peter
and
of
enriched
called
and
in
as
other
and
England
the
eleventh
from
late
human
is
concerned,
the
eleventh
beings
it
begins
countries
Divisions
period
therefore
the
sculpture
of
eleventh
the
begins.
Europe
and
Italy
the
in
the
is
art
line
of
art
half
speak
art
from
of
art
of
the
is
with
or
Gothic
Romanesque
two
everywhere
still
cannot
and
of
half
first
1400
to
century
the
to
century
1000
Romanesque,
between
of
eleventh
fifteenth
the
The
second
to
the
speaking,
with
the
of
beginning
Ages.
progress
in
Mediaeval
Art.
countries
some
of
of
beginning
until
in
time
same,
copied
Alps.
roughly
usual
The
for
the
is connected
that
the
the
be
as
the
sculpture
work.
scroll-
flat
representation
far
to
before
all
adornment
at
So
Italy
Germany,
to
the
it is not
mediaeval
about
in
sixth
for
in
"
Middle
period
of
Mediaeval
from
in
the
rise
of
of
Renaissance,
though
is barren,
ture
architec-
to
attempts
the
magne,
Charle-
at
seem
or
rudely
are
France,
clmnsy.
from
period
at
north
and
little
sculpture,
confined
used
few
with
under
art
not
eleventh
practised
was
ninth
the
affected
patterns
were
as
rude
century
the
the
The
are
the
that
Then
to
instances
such
of
In
it
as
and
exist
than
virtually
was
buildings.
of
far
so
which
dominions.
some
is, however,
scrollwork
more
give
eighth
renaissance,
far
"
Byzantine
before
revival
Milan
which
works
Santa
between
may
in the
reliefs
of
at
with
stone
The
his
of
bricks,
size
of
figure
painting
some
Roman
century
few
century,
pressed
in
entirely
sculpture,
In
life
two
it exist.
enthroned
Ambrose
was
of
church
St.
Rome
these
Carolinian
parts
the
metals
of
surfaces.
the
of
precious
almost
miniature
the
of
Sculpture
with'flat
carved,
however,
remains
Christ
men
crafts-
native
"
of
the
few
of
the
churches
and
modelling,
and
reliefs
date
consists
and
wall
church
in
certain.
century
the
stucco
and
arts,
Sculpture,
metal,
on
the
the
The
perfectly
no
in
sculpture
centuries.
in
Cividale
gilded
the
artists
work
at
their
them.
saints
Paul
and
colored
idea
six
SCULPTURE
practise
imitate
to
Valle
OF
to
to
chiefly
the
HISTORY
the
a.d.,
belongs
this
long
ture,
architec-
Romanic,
it is
architecture
and
ture.
sculp-
be
Gothic
sharply
always
drawn,
continuous,
though
it is not
places,
nor
between
and
and
to
of
the
sentiments
mosaics
lead
him
figures,
and
his
is
century
At
which
but
of
the
strong
was
influence
in
even
influence
classic
in
in
Italy,
The
the
mosaic
is natural
the
Italy
Eastern
less
in
to
southern
Ivory.
century
this
the
part
of
work,
Italy
were
The
only
the
altar
and
though
few
important
of
the
in
in
work
cathedral
in
regions.
of
northern
in
Europe.
alniost
ivory
as
Venice
sculpture
in
entirely
of
and
Rome
thirteenth
of
bright
character,
relations
statues
in
southern
other
in
fluence
in-
French
with
to
of
sculptors
also
was
the
tine
Byzan-
remains
mediaeval
than
character,
produced
the
the
as
close
architecture
Islamic
some
combination
general,
influence
show
to
East,
survived
mediaeval
Rome,
constant
In
in
and
Byzantine
was
the
Byzantine
style spread
Venice
relief
"
is
in
Empire.
decorative
confined
employed
and
of
begins
stone
of
Tuscany
early
In
of
view
the
jects
sub-
Carolingian
art
and
of
ing
deriv-
tradition
strong,
century.
work,
in
was
was
was
sculpture
early
with
twelfth
and
Rome
of
in
sculpture
the
century,
less
work
the
sculpture
colored
It
was
Lombardy
in
the
the
parts
sacred
to
of
the
Italy
all
sometimes
ivory,
Carolingian
of
part
in
choice
imitating
somewhat
affected
art
works
twelfth
observed
is also
the
the
the
revive
their
or
southern
In
thirteenth
latter
the
to
metal
from
where
Othos.
his
to
carvings,
the
"
limited
often
Germany
Byzantine
ivory-
until
Not
begaa
in
more
conceptions
great
by
In
Italy.
artists
inspiration
renaissance,
under
in
executed
they
their
that
the
his
teachings
achieved.
form
sculpture
first
but
affected
is
mediaeval
rigid frontality
sarcophagi.
of
century
Italy.
or
ancient
Sculpture
eleventh
equally
the
The
somewhat
technique
beauty
Mediaeval
give
the
form
;
abilities.
artistic
true
way
about
Germany,
religion
sarily
neces-
art.
plastic
in
places
are
Gothic
in
different
general
art
and
Christian
to
and
miniatures,
mediaevrJ
of
express
his
than
greater
are
in
in
or
different
only
especially
struggles
times
at
progress
Romanesque
Everywhere,
sculptor
different
at
therefore
centuries
four
divided
of
is
It
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
Doors.
The
of
sculptures
and
gold
silver
created
"
in
the
eleventh
have
century
but
disappeared,
interesting
an
series
of
doors
bronze
still
ists.
ex-
The
est
earli-
of
which
these,
date
the
from
eleventh
century,
are
Byzan-
purely
tine.
They
brought
were
from
nople
Constantiand
are
adorned
with
and
engraved
damascened
figonly
res
,
and
crosses
being
rosettes
in
cast
In
relief,'
the
latter
part
of
the
twelfth
century,
Bari-
however,
FioDKB
PaneUof
97.
Bmnie
Ravello.
Door,
"
abandoned
doors
the
Trani
at
Monreale
method
The
(about
on
'Suoh
doors
Walls;
MTtiBta
exist
all
(1076).
Similar
1070).
about
1110.
doors
Zeno,
in
Veoice
at
CasaJno.
MooU
Italy,
soiithern
hb
97),
his
and
models
work,
goldsmith's
S.
Fig.
which
for
Trani
covered
(1179;
reliefs,
of
Amalfi,
at
ia
and
doors
the
Ravello
with
1185)
and
damascening
1170),
ivories
reliefs
OaTcaao
of
(about
Byzantine
were
of
sanUS
and
(S(.
Rome
Mark's)
Verona,
Atrani
wen
Moote
(1087).
Paul's
(St.
in
belong
the
outside
made
by
local
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
This
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
Mon-
the
The
of
the
at
resembles
cloister
are
but
work,
Ban.
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
was
the
The
was
and
arch
which
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
is
seen
which
of
where
time.
sculpture
in
surmounts
which
the
into
pulpit
at
Who
Cam-
they
round
and
being
Ravello
was
Castel
at
somewhat
though
round
that
qualities,
came
the
probably
found
The
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
Roman
but
this
at
city
in
Capua
with
head,
ancient
known,
Rome,
are
art,
Roman
at
trimnph,
impressive
from
ancient
headless,
the
(1212-
ancient
preserved
female
of
built
them
Among
unless
appear
near
been
personifies
is not
from
of
arch
and
be
to
have
and
king,
works
imitated
unfortunately
Apulians,
Monte,
which
inspiration
were
of
caused
Roman
dignified
brought
were
employed
which
ivy,
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.
Egyptian
Hadrian.
ments
monu-
This
1230.
CosmaiL
The
"
is known
(or
resemblance
Roman
under
it
as
architect
are
some
the
to
Bassalettus
sides
of
resent
rep-
rude
carving,
heads
garden
and
seems
scrollwork
bear
the
Angelo
spirited
the
St.
it is covered
models
imitations
between
de
spandrels,
period
popular
still
and
at
of
manner
graceful
the
are
and
the
lions
and
them
built
of
two
last
were
was
decoration
fill the
cloister
of
works
Roman
Adalbert
of
was
rich
S.
with
but
This
son,
which
in
classic
by
Reliefs
sphinxes
of
Lateran,
the
tine
Byzanat
iconography
and
his
probably
the
cornices,
between
The
sarcophagi.
Roman
more
architecture.
Passion.
of
at
which
of
inspired
mosaic
the
with
Grotta-
at
candlestick
Niconaus
ivories,
the
of
reliefs
absent
the
later,
by
signed
in
paschal
Byzantine
or
cloister
ornament
in
is
was
decorated
bishops
somewhat
is
The
scenes
is, recalls
with
It
Bassalettus.
the
the
Walls
the
carved
well-head
the
carved
The
with
font
century,
is
sculpture.
example
and
martyred
Bartholomew,
century.
Petrus
the
rude
Byzantine
of
carved
twelfth
sarcophagi.
outside
twelfth
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
the
hindered
furnishings
scrollwork
from
heritage
have
to
seems
also
was
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
Perhaps
the
was
projects
invention
the
over
Two
belong
may
and
simple
against
of
statues
it
it
pears
ap-
is doubtless
influence.
these
in
Roman
which
canopy
in
with
date
of
them,
A
twelfth
of
are
kneeling
set
were
few
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
somewhat
unknown
not
was
tomb
Paul,
well
are
have
background
of
century.
They,
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
almost
Pisa.
at
Giovanni
vanni's
Gio-
massive
are
in
powerful
lines.
out-
of
the
of
they
was
however,
true
lack
grace
;
latter
curved
figures,
same
frivolous
one
the
century,
sinuous,
Vii^ins,
works
eral,
gen-
severity
These
the
than
In
of
art
monumental
and
fluence
in-
remind
thirteenth
to
de'
strong
Nicola.
French
yielding
has
classic
less
of
the
and
Venus
attitudes
of
art.
Prudence
the
far
the
ure
meas-
ancient
the
but
is
and
appears,
of
of
statues
some
of
figure
attitude
in
in
Hereules
nude
the
of
posed
imitation
one
the
fonn
reverts
to
the
shafts
simple
admirably
figures,
from
impressive.
are
the
at
below
group
and
five
have
reliefs
the
raised
affecting
five
other
of
small
the
dead
angels,
symbolical
In
grouped.
by
lions
the
Berlin),
supports
upon
but
disorder,
mere
in
supported
outer
resting
or
OF
(now
and
the
HISTORY
become
lectern
tomb
of
and
the
tainly
cer-
The
SCULPTURE.
MEDIAEVAL
of
figures
the
the
latter
former
have
Roman
the
Nicola
it
Bologna,
the
The
is
of
work
of
of
the
the
later
at
fact
Pisan
French
in
at
with
Giovanni
Anjou
with
Naples
at
work
important
de
at
and
at
had
it
Amolfo
beauty.
doubtless
the
is
Braye
Rome
above
form
he
whither
Rome,
at
Cosmati
magnificence
In
was
Guillaume
simple
work
to
he
had
this
also
Perugia.
of
most
pit
pul-
was
and
interval
His
the
1277,
in
also
dinal
of
Nicola
and
assisted
He
in
Charles
was
who
Siena.
Pisano
the
Cambio.
creation
called,
nines.
Apen-
Cambio
those
the
cai^
the
di
one
its
"
Amolfo
of
the
was
di
actually
ancient
art,
molfo
who
at
its
of
beyond
Dominican
Dominic
the
with
traits
ried
in
of
school,
and
The
lies
influence
mingled
St.
it
to
through
the
means
of
1265,
from
made
that
in
interest
apart
times,
followed
When,
area
on
ration.
inspi-
chief
additions
had
reliefs
lacks
area,
the
carved
figures
art.
of
order.
these
The
the
those
of
hb
but
skilful,
of
but
Gugliehno
the
Guglielmo
sarcophagus
founder
formed,
ancient
for
order
Fra
was
the
Fra
of
appreciation
the
ill
energy
Evidently
received
carved
and
vigor
sarcophagi.
Nieelft-iiHiis
and
heavy
are
IS9
ITALY
returned
of
tomb
Orvieto
erected
tombs
developed
The
base
in
pointed
Cai^
Fig.
which
101).
the
roof.
cophagus
sar-
From
of
monument
and
1278.
French
(1282;
with
canopy
the
in
the
front
great
of
tl""
190
sarcophagus
and
cardinal.
the
bed.
Above,
two
the
Virgin,
who
sits,
several
the
tombs,
seated
various
school
Pisan
and
of
Charles
hi^ihfluence
under
arisen,
had
Tino
di
removal
the
of
Pope
di
tabernacles
had
Giovanni
worked
on
rather
than
tombs.
of
of
the
at
Pisa,
Camaino
Florence.
of
exhibits
Marie
dramatic
able
to
reproduce
the
and
Siena,
the
Pisan
Andrea
of
it, would
works
work
the
is the
di
Giovanni,
have
been
much
Pwano,
Sicily
di
Andrea
"
Pisano
Andrea
pupil
of
Giovanni
(1273-1348),
Pisano,
went
of
these
place
in
he
he
human
and
had
form,
Tino
in
been
funerary
Naples,
Pace,
cially
espe-
whose
tomb
of
Goro
di
Gregorio,
of
the
teachings
of
Pisa,
di
Ugolino
at
to
Robert
King
Lombardy.
and
born
was
but
of
Charles
but
of
at
of
In
imitated
splendid
persons.
tombs
the
the
same
Orso,
had
Giovanni
to
living
even
out
Through
carried
were
of
form
the
the
work.
beauty
Balduccio,
Emperor
above
decoration,
of
were
1345).
Giovanni
school
rich
Florentines,
two
(about
Wise
and
consists
the
Duke
his
are
of
pupil
where
Hungary,
Valois
intensity
admirable
the
of
His
monuments.
most
of
another
Antonio
Bishop
tervened.
in-
not
work
by
Naples,
to
was
which,
have
might
of
the
artists,
sarcophagus,
of
Mary
appreciation
the
by
tomb
magnificence
and
in
the
of
Roman
his
life, surrounded
went
Austria,
great
Nicola's
not
in
of
and
sculpture
monument
tomb
on
as
he
1323
and
Calabria,
the
first
the
carved
In
Catherine
the
Most
of
besides
Rome,
Siena,
the
Trastevere,
(?-1337),
at
Nicola.
erected
again
Tino
1321
pulpit
extended
appears
person
In
1313
deceased
of
he
In
VII
Henry
the
of
Avignon
to
to
Anchero,
the
"
who
in
school
Roman
Tino
Camaino,
of
of
cardinal
the
at
of
curtains
summit
the
style
the
the
the
all
strong
figure
the
Cardinal
Anjou,
decorative
lies
Cecilia
combined
He
the
with
at
St.
of
of
columns,
kneeling
are
and
that
elsewhere.
works
Arnolfo
them
among
statue
figure,
of
twisted
apart
the
present
Walls
the
bed,
draw
queenly
and
rich
angels
works
outside
Paul's
mosaics
on
saints
Other
monument.
as
Two
dead
St.
with
sarcophagus,
the
SCULPTURE
OF
decorated
are
the
on
HISTORY
called
Nino,
Pisa.
Florence,
He
was
where
he
MEDIAEVAL
under
came
the
of
the
of
life
of
of
the
figures
fall
attitudes
graceful,
in
of
of
rhj-thm
in
there
hint
faces
are
the
calm,
and
composition
The
harmony
is
tion
imita-
of
ancient
the
art,
calm
beauty
is
antiquity
in
at
in
part,
least
in
art
of
the
France.
The
work
jtreat
second
Andrea
of
of
ttie
reliefs
senes
which
pressed
ex-
which
terms
originated,
decorate
the
PiouRB
All
campanile.
been
designed
Giotto,
but
della
in
medallions
the
works
careful
study
of
real
draperies
his
Andrea
PUano.
Ghiberti,
time
five
fifteenth
(The
of
bod
Bronie
frioic
la
ol
life.
simple,
by
are
ancient
The
the
Of
those
the
which
and
agriculture,
these
are
Luca
by
fiftj-four
represent
various
trades.
commerce,
Andrea.
Here
sculpture,
movements
but
are
clear,
grouping
he
still
gives
more
natural,
the
heads
evidence
of
the
vation
obserforms
noble
^refined.
"
Andrea
Orcajna.
"
by
Loreuia.)
carved
were
century.
interesting
most
man,
of
Viltorio
the
of
Twenty-one
by
all
in
Robbia
the
of
"
by
not
executed
were
Pflnels
102.
may
I"oor.
and
clear.
tails
de-
costume
of
of
figures
of
occasional
of
the
few
as
perfectly
the
folds,
story
contain
Pisano.
Only
have
contain
is
the
eight
remaining
groups
door
the
passion
Giovanni
IS
the
trace
no
tumultuous
of
the
cnrving
tell
panels
composition
long,
bronze
remarkable.
is
but
The
the
on
Twenty
Baptist,
the
reliefs
His
Giotto.
painter
great
of
series
191
ITALY
the
102).
Virtues.
draperies
There
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
is
of
the
of
figures
the
the
gentle
of
side
of
power
and
but
beauty
evident
so
Andrea's
in
Andrea
Pisano.
lacked
who
one
settled
artist
of
Pisano's
admired.
father.
He
statues,
the
Child
in
also
was
For
The
under
Giovanni
Andrea
and
The
general
of
the
Jesus.
in
similar
though
show
At
even
the
the
lives
the
many
the
of
right
branches.
these
influence
Tree
the
of
of
scenes
of
executed
Giovanni
to
the
life
by
and
of
of
the
Christ
are
of
The
who
but
its
At
with
different
even
cathedral
part.
1330,
panels
two
the
in
them.
to
hands.
and
of
works
lower
encircles
prophets
influence
Maitani,
many
Jesse
These
were
1310
and
years
the
Lorenzo
to
from
cathedral
of
door
the
due
attained
none
of
facade
of
reliefs
the
worked
ascribed
are
is the
school
probably
work
central
of
scenes
is
design
was
the
the
especially
capomaestro
of
of
the
models,
attractive
Tuscany
the
of
who
the
under
many
the
with
French
Siena
at
of
of
Virgin
sculptors
come
and
in
places
work
atOrvieto,
have
number
spirit.
gentle
the
his
of
figures
to
an
reliefs
that
standing,
indebted
own
was
lifelike
youthful
cathedral
Giotto,
various
greatest
is
the
grace
before
He
resembles
one
"
to
and
the
Of
on
other
an-
the
for
(died
charming
the
his
them
seem
Pisano
Siena
he
Pisano
They
greatness.
both
calls
re-
with
considerable
his
types,
Ormeto.
at
of
being
two
many
here
feeling
and
style
author
other
into
Facade
his
the
arms,
breathes
he
of
are
Annunciation.
but
the
Pisano.
Nino
attractive
these
notable
most
her
whose
but
Nino
son
is called
In
These
Virgin.
and
talent,
gentle
justly
are
Pisa
at
the
the
work.
"
1368)
are
expressed
seen,
eight
and
Nothing
panels
is
teaching
genius,
Nino
Giotto's
There
Andrea's
well
are
angels
splendor.
great
of
nacle
taber-
cycle,
of
Virtues.
and
simplicity
choirs
the
reliefs
form
His
church
the
of
the
They
theological
movement,
and
with
Virgin,
in
frame
mosaic,
setting.
the
of
three
much
figures,
colored
painter.
tabernacle
architectural
brilliant
life
primarily
is the
sculpture
with
this
to
SCULPTURE
was
The
splendid
adapted
scenes
of
Michele.
San
and
Giotto,
of
pupil
was
OF
was
tion
execu-
the
left
its branches
of
ancestors
are
the
hands.
Nicola
framed
earliest,
They
Pisano.
Christ
same
and
OF
angels.
two
church
HISTORY
by
are
The
SCULPTURE
tombs
Giovanni's
of
the
Visconti
Lombard
in
and
pupils,
of
works
the
school
other
and
master
are
the
his
at
numerous
Milan.
Mediaeval
Sculpture
Verona.
At
at
Verona
the
"
tombs
of
Pisan
influence
few
the
in
they
of
in
of
Bergamo,
of
sculptors
and
Sta.
adorned
and
heraldic
above
it
rises
surmounted
Martino
by
is
II,
the
tomb
ing
free-stand-
with
monument
statue
Still
statue.
splendid
of
of
is
equestrian
more
about
door
religious
an
tomb
erected
pjTamid
The
the
figures,
family
Campione
Antiea,
with
from
over
Maria
ceased
de-
The
on
Grande,
1330
the
tom'b
occurs
established.
Can
ners
cor-
front.
where
at
carved
the
on
motif
was
Can
the
at
horseback
relief
same
is
adorned
likeness
on
of
Alberto,
acroteria
and
Tomb
The
sarcophagus
with
of
widely
works.
that
great
pearance
ap-
differ
Pisan
general
earliest,
"
in
only
details
from
show
Seaiigers
an
its
at
trian
eques-
summit.
Signo-
"
But
the
complete
t^'pe
is
1374
and
the
other
the
hexagonal
signed
tombs
by
of
monument
Bonino
also
da
are
to
Can
Campione
be
ascribed
elaborate
most
development
Signorio,
{Fig.
to
104).
the
and
of
finished
Probably
Campionesi,
this
in
SCULPTURE.
MEDUEVAL
works
whose
Milan
of
the
Mediaeval
survived
of
the
Dominic
sculptors
the
Doges'
in
history,
of
they
style
of
with
knowledge
had
Venice
Venetian
the
Pisan
about
of the
century,
sacred
of
the
middle
the
of
the
brothers
the
part
work
fluence,
in-
and
some
sculpture
at
fourteenth
technical
Venice
toward
and,
and
and
Andriolo
Antonio,
century,
tury
cen-
excellence.
in
seen
Jacobello
is
Florentine
the
Lanfrani,
Jacopo
In
excellence
art,
be
of
profane
tradition
to
are
the
in
workmen.
most
and
of
capitals
general
of
power,
activity
and
and
end
works
the
northern
St,
decoration
of
Byzantine
also
are
the
from
Lombard
variety,
cities
and
the
of
Here,
part
for
of
the
some
area
chief
1365.
their
are
Under
whose
sculptors
Sanctis,
end
of
in
and
but
before
degree
neighboring
de
upper
but
the
The
and
figures
and
and
was
1340
they
attained
high
time
background
of
this
uniform,
sculptors.
tures
sculp-
Byzantine
century,
away.
personages,
Probably
Lombard
far
many
not
are
remarkable.
not
the
allegorical
at
seen
the
Venice
known,
between
are
In
fourteenth
were
at
adorn
facades,
two
the
in
Venice
which
of
some
"
school
Palace,
sculptures
Venice.
Bologna,
at
and
be
may
elsewhere.
in
even
Pisan
was
of
the
and
Sculpture
traditions
works
Viscx)nti
cathedral)
but
Verona,
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
Ser
deserve
Pisano.
themselves
Priori,
the
Bigallo,
the
qualities
work
the
to
dei
extent
The
and
of
reliefs
the
called
of
the
the
ancient
about
the
of
Andrea
Roman
side
doors
of
goldsmiths
those
the
of
dei
their
of
the
the
of
altar
bronze
door
Lanzi,
but
statues.
cathedral,
loggia
the
as
the
loggia
they
statues
of
devoted
time
such
of
Leonardo
by
this
Pisano,
draped
second
hands
Duomo),
Loggia
Sienese
the
buildings,
In
the
in
as
workers
cathedral.
figures
turesque
pic-
passed
beside
place
decoration
the
del
Opera
a
the
into
marble
afterwards
Florence
occupied
Orvieto,
at
the
had
as
metal
in
(now
Giovanni,
such
century
Such
At
Florence.
"
school
fourteenth
baptistery
Andrea
some
sculpture,
Pisan
half
in
Sculpture
retained
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
"Porta
the
of
della
Mandoria"
in
figures
which
the
human
tympana,
and
animal
forms
The
gin
Vir-
appear.
in
the
the
of
tympanum
southern
door
the
13
work
of
Lorenzo
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
from
Arezzo,
who
in
this
earlier
work
the
surpassed
dei
of
tbe
Canonici
In
Hio).
far
somewhat
decoration
Porta
by
finished
(Fig.
subject,
in
as
the
form,
he
figures
serted
in-
the
among
ful
grace-
acanthus
branches
are
classic
n"ther
of
art
tyniiMunm
the
than
mediaeval.
They
Hcnaissance,
does
as
by
Xanni
di
Banco.
belong
also
the
already
Sladonna
to
the
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
the
and
variations,
or
the
but
the
eleventh
of
boundaries
certain
school
qualities
general
and
end
of
seven
of
those
He
de
of
are
exhibit
liefs
re-
that
and
schools
these
each
of
the
Normandy,
of
the
by
made
of
in
awkward,
distinguished:
Burgundy,
of
Poitou,
works
be
the
century,
but
been
scripts
manu-
than
places
attitudes
had
can
in
iniSuenced
some
unnatural,
schools
Carolingian
and
in
mpre
progress
Remains
and
expressionless;
Languedoc,
Saintonge
sure,
and
liturgy,
sources.
measure,
ical
canon-
the
illuminations
the
some
proportions
much
styles
defined,
models
formed
so
different
be
and
work,
the
from
Bible,
the
carvings,
from
clergy
the
adorn
to
with
similar
childish.
and
try
Byzantine
throughout
century
To
and
Everywhere,
features
of
saints,
though
were
the
the
everywhere,
art
new
of
sculpture,
served
the
by
books
goldsmith's
churches
of
work
fragments
extant
to
be
may
excellent
clumsy,
began
men
supplied
the
few
the
ture
sculp-
carving
arts
the
in
affected
ivory
rude,
walls
were
apocryphal
the
ivories
and
had
minor
but
are
century
capitals,
of
those
"
Charlemagne,
under
art
and
time,
sculpture
the
subjects
In
that
at
monumental
But
work
head.
accomplished
was
of
renaissance,
metal
as
Schools.
begins
sculpture
revival
Carolingian
so
FRANCE
Different
mediaeval
the
for
IN
Scvlpture.
Italy,
century,
often
XII
France,
Provence.
not
clearly
considerable
tendencies
are
manifest.
The
in
School
region
of
where
Auvergne.
the
The
school
of
"
of
worship
197
Mercury
had
Auvergne
been
arose
popular
198
in
the
and
statues
the
the
of
days
HISTORY
existed.
reliers
deal
good
their
figures
of
influence
be
due
In
to
with
of
subjects
figures,
but
schools
this
for
relief,
is
of
and
Feet,
the
is
frequent,
are
the
Abraham's
the
Pont,
good
are
One
106),
works
assigned
the
to
churches
most
far
spread
rivers
the
the
that
Cher,
flow
and
is
this
to
great
wide.
from
others
work
by
Burgundian
centre
The
the
resembles
of
the
twelfth
of
this
school
and
less
or
of
Abbey
the
of
of
plateau
that
other
confidently
pupils.
closely
the
Auvergne
nected
con-
which
Clunj',
of
influence
Auvergne,
of
tury,
cen-
(Fig.
immediate
more
du
several
be
sculpture
and
Dame
may
culture,
in
turning
over-
Notre
his
to
all
were
Moses
of
they
or
Den,
Temple,
Ritlius,
that
sculptor
Lions'
Samson
of
part
the
Testament
the
Bulrushes,
early
signed
Auvergne
important
and
the
ment
Judgfavorite
Sacrifice,
church
of
same
of
with
was
these
similar
so
the
examples
of
are
The
of
Clermont,
at
of
capitals
of
Last
Old
the
The
the
Carrying
the
in
of
Supper,
The
Daniel
the
Washing
the
from
the
from
prevail.
scenes
most
of
Last
and
the
figure
the
the
Cross,
with
is
scenes
Christ
gorical
alle-
these
Shepherd
the
for
Avarice
Temptation,
Jonah.
Languedoc.
among
among
to
Virtues
The
popular.
rate
elabo-
seems
the
of
of
in
preference
punishment
life
of
the
seen
or
Vices,
and
with
attitudes
Burgundy
Good
often
influence
conflict
the
spiration.
in-
Occasionally
shows
the
antiquity
their
and
such
of
school
especially
high
ivories
or
lines,
the
derived
clumsy.
miniatures
of
have
forms
but
delicate
and
contact
choice
The
expressive,
Byzantine
draperies
in
undercutting.
are
remains
to
works
Gallo-Roman
many
such
seem
produced
of
where
From
sculptors
They
a
SCULPTURE
Empire,
Roman
mediaeval
early
OF
which
of
valleys
the
the
Loire,
itself,
but
MEDIAEVAL
13
affected
well
School
centre
the
of
the
church
eleventh
St.
107).
Two
figures
of
The
the
In
of
century,
ability
and
technical
which
in
the
inventive
in
also
of
of
elaborate
the
La
capitals
Daurade.
early
has
exhibit
the
already
and
its
life
great
The
originality.
of
part
decoration,
sculptures
longing
be-
Moissac,
at
the
and
evident,
are
centurj',
and
of
tympanum
cathedral
Cahors
at
toward
filled,
natural.
un-
progress
to
the
cases
great
church
twelfth
was
the
end
of
lUlief
the
the
representing
life
with
century,
of
St.
of
archaism.
found
as
of
Santiago
east
as
de
Christ
and
work
of
Provence,
Compostela,
is
the
of
full
dignity,
and
in
of
some
Spain,
this
of
are
pression,
ex-
traces
some
are
work
the
of
episodes
still
there
though
Examples
far
of
This
beauty,
St,
ToulouBc.
relief
ascension
Stephen.
and
from
"
ItieDoe.
twelfth
cloister
artificial,
dates
cloister
The
the
of
is
much
true
the
those
ter
clois-
capitals,
skill
is
this
from
dating
the
figures
some
different
twelfth
of
but
the
tures
sculp-
style
this
these
in
earliest
Toulouse,
but
twelfth
Gilabertus.
carved,
attitudes
are
best
by
of
drapery
The
at
rude,
and
(Fig.
in
signed
had
twelfth
in
Apostles
carefully
still
the
the
as
Languedoc
eleventh
court.
Sernin,
executed
of
are
St.
the
in
brilliant
elaborate
skilfully
of
school
was
are
of
are
and
The
of
Etienne,
Languedoc,
"
century,
century,
in
of
and
sculpture.
which
seat
199
FRANCE
Burgundy
Gallo-Roman
Toulouse,
the
centuries
IN
of
Languedoc.
of
at
in
of
remains
by
The
schools
the
by
as
its
SCULPTURE
school
the
the
are
tures
sculp"tic"\'f.
200
of
sculptors
of
France,
HISTORY
from
ivories,
The
School
southwestern
parts
often,
was
Different
though
derived
qualities,
and
sculptures,
but
combinations,
not
Byzantine
do
not
to
serve
style.
of
The
Burgundy.
the
in
centre
time
coarse.
various
consistent
its
in
this
the
Gallo-Roman
art,
appear
In
at
and
clumsy
from'barbarian
SCULPTURE
Toulouse.
sculpture
always,
form
OF
great
school
of
at
monastery
had
Burgundy
"
of
Cluny,
tile
unfer-
which,
Trocad"ti,
there
tunately,
of
source
the
detail
tend
to
Autun.
the
such
school
are
and
The
and
much
liveliness
of
the
the
relief.
sculptures
pwrtal
sculptures
of
at
to
with
The
of
the
the
narthex
of
were
to
or
"
ture
sculpmuch
to
but
dignity
church
Vfizelay
led
motion,
most
ivory
in
works
of
chief
were
reproduce
elaborate
effect
The
sculptors
attempt
small
dramatic
depth
remains.
any
Burgundian
The
and
temper
and
Vfeelay
of
drapery
roundness
this
for
miniatures.
effect
in
hardly
now
inspiration
and
carvings
are
did
not
develop
brilliant
works
of
of
abbey
at
Saint
carved
the
Lazare
not
at
long
In
of
this
OF
is
iconography
SCULPTURE
of
unusual
in
interest
work
the
school.
The
the
the
general,
HISTORY
Schools
of
of
sculpture
and
Normandy
the
eleventh
In
Provence.
of
Normandy
"
is
century
linear
chiefly
rude,
ornament,
and
clearly
but
deeply,
not
finely,
too
kind
cut,
of
ment
orna-
which
is
unknown
not
other
in
of
parts
and
France,
which
is
most
familiar
it
as
man
Nor-
on
appears
in
buildings
England.
ure
Figin
sculpture
Normandy
at
this
time
is
closely
con-
nected
with
the
of
that
lie
de
The
France.
brilliant
most
of
examples
Proven9al
sculp-
ture
the
are
church
and
cloister
Arl"
part
the
of
church
the
of
of
twelfth
St.
Gilles.
Both
and
century,
influences
than
any
are
St.
Trophime
{fro
Aries
and
of
French,
sarcophagi;
from
Lombard,
the
He
of
these
both
great
de
perhaps
France
from
the
rather
originality.
ancient,
Benedetto
109)
(Fig.
from
date
exhibit
at
These
from
latter
nation
combiences
influtian
Chris-
Antelami
SCULPTURE
MEDIAEVAL
his
and
school;
combination
the
their
than
of
they
but
whole,
St.
would
Trophime
is
in
of
rather
ability
chief
to
combine
for
in
of
of
the
of
but
France,
tions
He
in
since
church
The
of
term
it
in
schools,
but
in
made
it
make
should
still
more
aided
turn
of
the
in
more
ment
arrangenot
mere
edification,
of
of
part
the
ture.
architec-
to
development
indispensable
an
even
hand
them
means
parts
conven-
consistent
less
and
disappear
adapted
to
all
the
one
end
or
to
Spain,
the
tendency
which
only
to
perfectly
the
more
centurv
on
becomes
Before
not
began
soon
ing
develop-
France,
affected
twelfth
but
crude,
rapidly
England,
the
more
the
de
the
France
Burgundy
France.
local
became
time
He
spread,
Sculpture
other
and
it has
schools
connection
the
Gothic
of
now
pointed
Needless
applied
with
Sculpture
the
grew
ture,
sculpgreat
every
that
in
to
also
the
the
say,
to
the
architecture.
applied
sixteenth
Goths
sculpture
Thirteenth
is
century
Christian
first
was
arch
the
of
thirteenth
of
teachings
"Gothic"
term
the
derision.
is
of
sculpture
of
of
their
derived
and
architecture,
other
eye,
Subjects
Gothic
'
the
building.
The
"
behind
upon
de
heavy
the
sculpture
of
This
strength.
middle
same
the
to
is
of
Germany,
the
on
the
school
to
sculptures,
pleasure
but
rests
He
Toulouse
of
Gothic
the
In
"
century
of
the
by
and
of
school,
elements
purposes
France.
existing
France.
At
own
at
Provence
of
somewhat
originality
even
work
independent
are
to
their
of
the
retained
natural,
claim
the
also
Before
de
and
who
century
previously
Italy.
sculpture
schools
school
thirteenth
the
by
the
growth
dominant
the
the
de
lie
felt, and
the
with
richness,
cloister
but
facade,
contemporary
eleventh
of
itself
makes
the
the
influence
the
the
the
sources.
Sculpture
sculpture
of
sculpture
of
archaic
more
the
original
whose
is
In
beautiful
even
than
its
an
and
sculptures
that
than
stone-cutters
various
from
of
able
and
times,
finer
oriental.
ornament,
The
suggest.
all
work
the
not
the
of
203
FRANCE
impressive
an
appearance
With
Chartres.
is
produce
date
to
respect
appearance
is earlier
this
in
and,
IN
theology
to
the
great
century
have
and
^by
nothmg
painting
Century.
an
tation
interpre-
and
religious
mediaeval
ture
architec-
Raphael)
to
do
which
as
with
it.
developed
term
The
in
204
In
literature..
one^an
HISTORY
the
the
trace
divisions
in which
the
chief
the
faith
the
punishment
of
follow
Then
cf Jesv^,
born
and
the
doing
of
heaven;
and
the
Hell
are
He
of
Christ
Vices
the
of
of
saints,
(Notre
the
form
and
the
ture
sculp-
great
the
judge
quick
and
Heaven,
of
is
the
the
aid
the
saints
and
Saints
Statues
Coronation
the
is
of
greatest
Our
Lady
the
Virgin,
Virgin
the
of
from
scenes
But
angels,
God;
the
of Figures,
of
decoration
more
of
support
by
apostles,
archivolts
;
on
figure
the
in
the
are
the
chance
lintel
the
of
of
Christ
jambs
with
of the
door
the
are
their
the
great
at
small
and
figures
Their
than
above
tympanum
covered
Such
"
cathedral.
the
of
matter
occupied
elect
and
the
into
of
and
saints
of
ascends
omitted.
be
Mother
Virgin,
Arrangement
central
all
and
Apostles,
are
repeated.
the
no
above
the
representations
since
of
Images
hardly
can
the
the
of
him.
and
thejChristian
of
life
and
natural,
are
and
of
Judgment,
temptation,
for
Saints
Dame),
constantly
The
Virtues
of Mary
teaching
to
comes
the
Redeemer
Life
in
rare
He
redeem
Resurrection,
very
Since
with
is
are
Last
the
common.
who
Death
they
the
day,
the
Passion,
of
intercede
Lives
third
Ancestors
The
about
goes
mind.
should
Teaching
the
century.
scenes
the
and
the
from
Si^ns
the
of
who
as
the
the
sin.
scenes
on
though
struggle
and
sinner
is raised
thirteenth
very
constant
the
Jesus.
figures
Him
Adam's
of
of
of
dead
of
with
and
Patriarchs,
heralds
penalty
hence
the
the
are
labor
to
labors
or
So
cathedral
leading
Arts
hence
occur,
of
Liberal
The
History.
Months,
the
the
as
Bea\ivais,
of
great
FaUy
of
Virgin,
scenes
Ascension
the
is crucified,
He
the
and
Childhood
good,
the
Prophets,
the
the
Labors
also
the
from
was
the
precursors
mankind
is
and
Zodiae,
the
and
such
and
Ethics,
of
cipal
prin-
expressed.
are
age
sculptures
Creation
hence
the
of
Science,
the
the
even
of Vincent
Mirror,
Nature,
and
spirit,
cathedral
great
encyclopaedias,
learning
of
of
the
plan,
mediaeval
and
are
SCULPTURE
decoration
Universal
or
subjects
follows
as
the
of
divisions
main
figured
general
Maius,
Speculum
OF
the
arrangement
central
of
the
sides
door
is
door
are
Judgment
Last
figures
the
The
selection.
sides
is the
which
of
angels
of the
and
centra
MEDUEVAL
support
of
foolish
virgins.
facade
has
The
other
two
of
One
devoted
the
the
other
the
to
saint
patron
the
these
to
Virgin,
cathedral,
of
whose
occupies
statue
central
the
FRANCE
and
wise
doors.
IN
figures
are
the
is
SCULPTURE
the
of
support
lintel.
One
panum
tym-
represents
the
death
of
or
her
from
the
from
scenes
the
of
the
story
door
of
figures
are
Old
the
At
the
Virgin
of
other
saint.
sides
the
gin
Vir-
scenes
life,
of
the
Testament
characters
statues
or
the
representing
the
Presentation,
the
the
or
of
Xhe
of"rtie
the
patron
especially
doors
of
saints
some
way
church"
or
Small
patron.
Occupy
of
door
connected
the
figures
the
saint
in
are
its
Magi.
other
represent
with
tion
Adora-
at
sides
who
tation,
Visi-
the
statues
nunciation,
An-
or
the
has
reliefs
Figure
ilU.-
archivolts
and
windows
or
the
lower
part
of
the
wall
beslda
206
These
doors.
the^
from
chosen
Liberal
the
HISTORY
represent
the
Old
the
Arts,
Zodiac.
OF
of
scenes
the
the
Testament,
Works
The
SCULPTURE
the
of
Creation,
Vices
and
the
the
on
appear
the
Virtues,
and
Months,
which
figures
episodes
parts
upper
of
the
such
of
Signs
church,
galleries
as
pinnacles,
or
often
of
size
are
colossal
they
ally
usu-
represent
Old
Testament
characters,
times
some-
Adam
and
and
the
Eve
Church
the
and
Synagogue,
or
at
as
even,
Rheims,
angels.
Symbolism.
"
choice
The
and
of
arrangement
figures,
scribed
de-
as
above,
perhaps
seldom,
only
Amiens,
at
adhered
strictly
to
but
the
eral
gen-
scheme
almost
-Statuea
of
the
Poivh
Southern
at
be
in
even
smaller
the
111,
can
always
traced,
FlUDBG
ia
where
churches,
ChartrOB.
omissions
many
S,\mbolism,
occur.
of
the
way
progress
Synagogue
Testament
Old
or
the
another
of
His
are
is
too,
everjTvhere
and
scenes
of
coming
Church,
symbolic
the
of
to
figures
Christ,
figures
the
triumph
found.
symbolize
Most
in
teachings,
His
of
be
the
of
Church
Christianity
or
and
one
the
the
over
MEDIAEVAL
the
Jewish
meaning,
French
the
their
which
figures
many
their
works
of
architecture.
Architecture.
almost
the
val
mediae-
exclusively
workers
employed
not
was
therefore
were
The
"
moment
marble
and
northern
and
worketl
Italy
for
except
wood),
in
have
figures
also
are
207
FRANCE
animal
there
Sculpture
of
sculptors
and
various
though
Mediaemt
we
IN
decorative.'
purely
are
and
religion,
hidden
(if
SCULPTURE
In
in
France,
in
metal,
as
building
great
ivory,
terial
ma-
pendent
inde-
measure
the
on
marble
in
other
hand
(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
the
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,
fell
carving
ivory
influenced
skill
revival
exclusively
work,
ivories
some
the
almost
strongly
are
show
Ivor"^
when
it
and
more
carved.
Rhenish
centuries
Italy,
confined
goldsmith's
as
The
eleventh
GERMANY
elsewhere,
as
was
such
arts,
IN
Germany,
Charlemagne
lesser
and
In
"
under
art
SCULPTURE
Ivories.
Early
XIII
verj'
with
in
Trajan
;
poor.
page
more
they
are
The
177),
form-
218
Bavaria
there
little
or
are
the
of
legends
the
to
they
their
direct
study
but
is
choir
practised
and
tympana
less
rich
and
of
chief
in
of
which
certain
show
and
expression
of
by
means
are
characteristic
Christ,
and
originals
These
reliefs
Berlin),
group
choir
reliefs
screen
at
of
to
Christ
is
Virgin
Hildesheim,
Halberstadt,
and,
tecture
architombs
sculpture,
and
twelfth
they
draperies.
Such
with
of
belongs
to
those,
by
the
the
draperies
because
artists,
the
thirteenth
the
exhibits
time
the
(now
apostles.
ten
apostles,
same
the
relief3
Groningen
from
surrounded
with
in
stucco
inspired
beginning
Child
adoption
probably
Toulouse,
gain
to
draperies
The
apostles.
relief
try
the
after
life
give
Halberstadt,
adorned
twelve
phalia
West-
to
which
closes
century
sculptors
At
is the
Saxony
"
neighboring
France.
like
on
German
the
result
the
reliefs
of
the
the
of
stucco
and
with
long
Judge,
as
connected
of
miniatures)
or
the
usually
of
and
of
in
it is
sculpture
school
the
earlier
the
at
the
and
of
where
architecture
screen
ascribed
are
of
choir
(ivories
Even
century'.
The
recall
in
Virgin,
attitudes
similar
in
the
is
not
ence,
influ-
ture
Sculp-
also
and
Century,
agitated
methods
little
is sandstone.
part
of German
ous
vari-
decoration
lecterns,
end
poor.
century
the
for
consisting
figures,
ture,
sculp-
important.
more
portals,
Saxony
the
on
their
Liebfrauenkirche,
of
the
the
in
violently
natural
more
still exerts
Romanesque
fonts
to
art
material
before
desire
thirteenth
development
with
baptismal
the
Thirteenth
first
Even
1275;
the
of
is connected
about
usual
this
and
Sculpture
The
centre
rude
and
all portraiture,
Sculpture
generally
is
of
jambs
France.
nearly
is
no
ancient
from
real
churches,
in
action
lively
little
nature
chancels,
the
statues.
Saxon
of
chiefly
on
than
is
Ancient
altars,
screens,
In
"
of
uted
attrib-
are
produced
work
Century,
arise.
merit
from
scenes
qualities
Bohemia
and
schools
the
Some
which
Lawrence,
St.
technical
ornamental
Thirteenth
local
their
Austria
representing
have
century,
derive
sarcophagi.
and
similar
Switzerland.
and
Basel,
at
exhibit
and
influence,
Alsace,
Vincent
St.
to
and
Franconia,
which
sculptures,
Christian
Early
or
twelfth
seem
The
decorative
cathedral
the
SCULPTURE
OF
some
in
seen
in
panels
are
Byzantine
no
works
of
HISTORY
on
as
the
the
influence
MEDIAEVAL
of
SCULPTURE
ivories
Byzantine
car\-ed
in
wood
and
nobility
lesser
figures
the
to
(about
The
Pforte"
Pforte
of
the
fixion
cruci-
almost
finer,
parable
com-
"
of
Freiberg.
clearness
of
composition,
dral
cathe-
Freiberg
(Fig.
is
the
finest
work
of
this
period
northern
many,
Ger-
though
in
animation,
in
the
elaboration
of
the
hands
and
and
feet,
of
correctness
portions
proit
is
inferior
Piqube
the
117"
work
at
and
Magdeburg.
even
(about
contemporary
dependence
upon
style
fine
example
We^iphalian
in
are
of
monument
1225}
of
of
Saxony
at
seen
the
Henry
portrait
Lion
Miinster
In
and
France,
French
same
with
though
work
early
his
wife,
at
no
has
been
and
period
and
Nossen,
and
of
Halle.
Brunswick,
sculpture.
Sculpture.
at
of
the
artist
acquainted
Merseburg,
"
cathedrals
work
particular
any
works
The
evidently
was
similar
"Goldene
F.Stoedtner,
NW.)
Pforte"
Other
D"".
berg,
Bam-
"Goldene
traced.
(P*""*--
Ti
Naumburg,
direct
the
Tympiuuimof
??"'^'1!,EP.''^'6-
somewhat
Berlin
later
later
(golden
117)
is
the
though
dene
Gol-
"
"
of
door)
The
figures,
for
the
beauty,
of
century-,
its
feeling
the
of
decoration,
and
the
thirteenth
somewhat
is
12;}0)
cathedral
and
of
plastic
chief
the
manship,
work-
significance
to
its
ornamentation,
of
variety
in
the
crucifixions
large
in
of
stiff.
"Goldene
of
delicacy
in
and
poor
richness
in
beauty
Wechselbui^
at
In
are
few
That
third
first
219
GERMANY
mention.
the
of
exhibits
miniatures.
or
deserve
Halberstadt,
IN
Westphalia
Paderbom
are
the
portals
adorned
with
of
the
sculp-
220
HISTORY
The
from
dating
tures
figures
draperies
action.
the
heads
in
also
Here
is
the
the
near
PioDRE
lis,
Bamberg.
probably
parts
the
The
somewhat
are
art
the
of
influence.
draperj',
the
latest
are
high,
prominent;
twelfth
later
show
and
the
draperj'
at
the
and
parts
for
In
the
stiff, the
"
as
outruns
Magdeburg
and
cathedral,
(Paradiespforte).
therefore
Georgenchor,"
the
the
date
and
freer
abdomens
time
in
the
of
St.
earlier
connection
style,
like
beauty
The
under
was
Bamberg
at
1245.
their
betray
choir
Bamberg.
cathedral
which
are
feeling
same
Here,
At
the
portal
1230
century
works.
Saxon
of
between
archaic
The
lively
represent
meaning
Gothic,
tho
sculptures
executed
agitated
centurj-.
from
Tympanum
much
power.
northern
the
to
century.
expressive.
within
completely
of
the
express
aesthetic
the
is
"
to
sculpture
at
end
"
were
and
architecture
be
must
are
and
desire
thirteenth
and
dignified
the
exterior
attitudes
the
sculptors
excellent
the
on
the
of
desired
technical
much
middle
the
Germany,
artist's
there
the
stiiT, but
that
The
elsewhere
about
are
show
SCULPTXTRE
OF
with
Byzantine
with
that
flowing
exhibited
George
and
thighs
Jewish
types
the
round
are
in
reliefs
and
well
SCULPTURE
MEDIAEVAL
and
rendered,
the
of
Some
The
later
the
and
the
in
the
of
this
real
choir
high
period
of
sense
the
in
Influence
since
choir
with
combined
excellent
are
cathedral
cathedral
of
period
The
at
fine
the
portal,
sculpture
is later.
of
the
Baltic
Church
Gothic.
French
The
is not
period,
of
in
and
this
period,
art.
(Fig. 119),
the
early
figures
Freiburg,
in the
but
of
most
the
lands
is it
nor
the
the
Bavaria,
Franconia,
Rhine,
and
French
Synagogue
this
to
transept,
1250),
upon
At
the
Romanesque
and
of
the
was
In
"
the
the
Revolution.
middle
abundant
of
1230
Many
sculpture
and
lower
of
the
and
in
Transylvania.
to
dependent
measure
ties
quali-
school
Saxon
Germany.
are
pear,
ap-
tion,
composi-
statues
sculptures
is between
figures belong
some
regions
the
of
traits
Similar
even
of
exterior,
date
the
in the
Breisgau,
the
the
and
sons
per-
group
good
effect.
Parts
only
already
are
destroyed
were
Other
great
of
figures
Silesia
into
on
in
beauty,
of the
Strassburg
are
with
influence
(their probable
these
even
for
is
traits,
por-
the
portraitlike
admirable
The
and
and
of
crucifixion
less
Freiburg,
within
in the
Even
statues
actually
death
somewhat
extending
Strassburgy
the
dramatic
Meissen.
at
widespread,
both
the
in
after
had
the
not
are
end
There
and
and
drapery,
seen
they
long
feeling
effect.
naturalism,
though
the
to
evidently
dramatic
naturalistic
similar
screen
Conrad
decoration
belongs
sculptor
at
bear.
The
"
Saxony,
The
vigorous
they
names
Saxon
northern
called
School.
in
made
were
the
the
of
(sometimes
aimed
of
graceful
from
sculptures
the Saxon
individuals,
they
whose
inspiration
1270).
trait
their
and
dignity
cathedral.
of
and
beauty
real
represent
the
(about
reliefs
calm
Naumburg,
at
(Fig. 118).
characteristics.
same
their
statue
the
of
interior
naturalism
the
the
are
equestrian
Naumburg.
of
derive
these
Among
exhibit
with
to
appear
school.
portal
reliefs
other
is much
there
general
sculptures,
draperies,
III)
in
221
GERMANY
IN
along
especially
interesting.
Gothic
1275
to
Sculpture
1450
by
over
in
the
Germany,
last
"
the
sculpture.
complete
Gothic
The
"
of
mediaeval
dominance
of
period
architecture
from
period
art
Gothic
was
"
was
about
acterized
char-
architecture
adopted
in
an
advanced
and
HISTORY
from
stage
SCULPTURE
France,
French
evidently
OF
exerted
sculpture
in
developed
not
Germany,
influence
great
upon
Germans.
the
natural,
This
especially
sculptures
the
by
In
measure
and
twisted
which
period
the
to
masons.
slight
postures
this
carved
building
bent
be
may
less
of
in
than
of
in
were
in
fash
lined
which
fell
of
the
of
deep
the
FiauRE
burB
The
1 19.
Beriin
Synaeomic,
"
Cathedra!.
Gothic
clothing,
in
hid
clumsy
the
forms
The
shadows
love
also
to
and
clumsy
general,
the
led
carve
folds.
NW.)
In
show
sculptors
the
its
demanded
body.
deep
Stocdtiif
the
sculptors
Rlra."
Dr.F.
(Photo,
show
ion
thick,
and
worn
allowed
to
outlines;
peritnl
cen-
and
form
folds
and
postures.
draperies
thin
the
ceding
pre-
oration
elab-
thirteenth
the
turj-
human
the
draper"',
truth
the
in
less
time,
In
study
exhibited
treatment
less
this
direct
b
forms
the
In
nature
the
due
of
architecture.
of
in
occur
influence
period
the
as
were
some
the
is
general
tasks
in
de^"elops
of
to
the
composition
and
becomes
city
life
sculptors,
makes
sentiment.
much,
too
even
development
offered
was
variety
much,
its
especially
and
greater
therefore
"
With
of
variety
greater
ure
Portrait-
appearance.
good
German
toward
the
end
MEDIAEVAL
of
SCULPTURE
It
period.
the
important
more
is
Breisgau
the
and
parts
minster
porch
the
few
of
to
give
of
Germany.
eral
gen-
in
It
front.
almost
the
Freiburg
at
at
therefore
was
contemporary
of
sculptures
Romanesque*
great
and
Bamberg
It
Naiunburg.
the
presents
Christian
whole
doctrine
of
tion
salva-
conceived
as
mediaeval
by
and
theology,
of
In
is
icono-
great
interest.
graphic
is
time
the
of
the
and
only
different
open
1275,
the
with
in
chiefly
about
begun
the
in
sculpture
"
this
223
GERMANY
mention
to
of
sculpture
The
Freiburg.
possible
be
monuments
of
survey
will
IN
it
style
of
trace
retains
esque
Roman-
ness,
awkwardcombined
with
naturalistic
The
trait3.
completely
more
Gothic
sculpture
within
the
ster
minFioUHE
the
at
somewhat
Stoedtuor.
Beriiu
and
later,
exhibit
portal
.StrnssburR
the
the
style
the
Strassburg
"
the
of
about
begun
is
in
well
1290
plainly
the
and
character
three
reliefs
effect,
not
are
the
doorways
remarkable
much
very
details,
but
sculptors,
have
for
even
the
suffered
their
can
restored,
great
now
be
free-standing
little
affected
and
execution
regarded
attitudes
placing,
of
only
due
as
figures
from
French
1.330.
that
at
restoration.
and
main
portals
western
about
so
the
century.
arrangement
the
and
as
The
the
of
fourteenth
finished
in
seen
sides
the
at
"
influence
Dr.
(Photo.
NW.)
statues
artificial
At
Strassburg.
were
F"...
Tempted:
Cutliedrul.
is
portals
side
Virgiiia.
and
Templor
120.
"
and
the
as
the
figures.
the
general
to
the
sides
They
expressions,
inal
origof
the
are
in
224
of
spite
which
admired
of
the
comparable
its makers
of
and
the
statues
the
piers
of the
The
work.
is rather
wooden
which
good
examples
the
and
from
which
is
under
somewhat
the
At
centur"-
attitude
of
and
the
and
tower,
work
of
also
choir
Peter
Sts.
southern
Wetzlar
and
the
apostles
of
on
careful
are
side
affected
Cologne
apostles,
but
lives
Strass-
of
in
of
half
at
as
twelve
statues
middle
second
cathedral
south
the
portal
the
fifteenth
of the
from
the
of
rich,
of the
the
proportions,
The
good.
in
affected
are
in
scenes
adorn
Paul,
of
almost
to
here,
the
and
in
Madonna
representing
the
In
Virgin,
slender
too
regions
and
before,
(1349:-1361),
exceptionally
reliefs
part
the
choir
and
expression
than
the
plentiful
more
is strong.
Christ,
of
thirteenth
cathedrals
In
"
is
century
influence
French
burg,
Rhine.
sculpture
fourteenth
the
cathedral,
exceptionally
French
great
much
are
inspiration.
Lmver
Rhine
is
century',
they
this
of
of the
early part
their
which)
sculpture
of the
derived
lower
the
that
Middle
The
The
fifteenth
to
of
because
even
from
SCULPTURE
OF
120).
dates,
end
and
(or
(Fig.
different
the
HISTORY
are
the
early
interesting
are
works
this
of
cathedral
of
Hitter
of
of
piece
Rudolf
of
this
region,
the
deceased
striking
Austria,
little
1371).
as
of
also
the
Speyer.
tombs
no
tomb
is
an
tomb
of
fact,
In
with
them
among
effigies
are
in
of
of
many
works
of
and
churches
and
of
(Fig.
the
wooden
The
of
the
well
altarpieces
figures
of the
of
"
realism
the
in
St.
latter
Beautiful
and
develop
the
Sebaldus
part
Fountain
tures
sculp(about
are
exhibiting
which
esting
interthing
some-
predominates
of
is
Bavaria,
schools
(1355-1361)
executed
intimate
"
Franconia,
and
Lawrence
Frauenkirche
121),
period
local
in
Nuremberg,
of St.
popular,
this
important
no
There
Bohemia,
Austria,
sculpture
At
regions.
1330-1365)
Bavaria,
"
Bohemia,
of the
century.
(died
is
generally,
and
the
wife
cathedral
Germany
Germany
or
those
the
his
of
figures
Frankfort
the
excellence.
comparatively
in
at
work,
numerous,
are
Southern
in
the
in
in
and
and
naturalistic
Hapsburg
affected
pretty,
cathedral
the
In
Holzhausen
von
excellent
of
of
decoration
sculptured
consists
Mainz
importance.
great
The
period.
the
fifteenth
"
at
Nurem-
In
period,
this
f"miliar
architecture.
which
in
it
is
still
the
begins
is
the
but
Germany,
in
SCULPTURE
in
sculpture
realism
Renaissance
OF
especially
German
century,
and
HISTORY
great
measure
first
half
to
show
distinguishing
its
spirit
dominated
the
of
fifteenth
the
popular,
of
quality
is
still
mediaeval
by
Gothic
the
XIV
CHAPTER
MEDIAEVAL
English
SCULPTURE
Sculpture
intolerance
religious
in
sculpture
the
not
to
with
slabs
carved
in
origin,
those
to
derived
of
from
even
the
Saxons
rate
the
hardly
finest
in
to
At
in
any
England
The
Architecture,
the
have
seventh
art,
Date
refined
hardy
of
are
the
been
century
Ruthwell
Ruthwell
and
of
school
works
and
of
Bewcwttle
227
than
of
southern
of
of
the
the
CroMes,
called
their
with
in
existence
strongly
sculpture
twelfth
devoid
be
may
Haven,
by
figured
northern
influenced
See
century.
New
to
sympathy.
almost
BewcasUe,
proofs
as
stop
little
were
patterns
cited
probably
had
Normandy
decorative
to
sculpture
Normans
of
at
rather
was
more
the
those
crosses,
Bysantine
The
ascribed
sculpture
Norman
conquest
the
unless
which
England
with
churches
sculpture,
The
the
which
Romanesque
Cook.
of
of
with
decoration,
is
"
progress
England,
It
work.
event.
Connection
in
effect
the
that
before
be
to
conquest.
of
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
The
reliefs
almost
Germany
southern
in
tively
rela-
of
Ages.
curious
ivory
that
apparently
and
and
style
and
paintings,
begins
in
France
stone
certain
not
scrolls
crucifixes,
especially
number
aid
in
is
scrollwork,
few
executed
and,
small
relief
flat
very
Scandinavian
which
on
be
Middle
the
of
of
for
to
however,
conquest
with
works
and
seems
was,
Norman
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
and
twelfth
can
delicacy
of
facial
be
traced
sentiment.
great
The
art
excellence
of
head
for
dun-colored
the
at
affected
corbels,
by
of the
of
stops
string-
the
end
of
admirably
of
progress
middle
and
carved
already
the
string-
churches.
of
and
are
and
churches.
carved
were
expression,
the
of
were
in
heads
first
spandrels
undoubtedly
Salisbury
attained
in
heads
until
the
corbels,
hard,
fronts
of
such
and
in
vided
di-
second
architecture
the
and
be
the
In
effigies
of
tecture,
archi-
may
fronts
the
of
developed
England
heads
on
the
carvers
many
it had
when
in
lay
Wells
At
sculpture
century,
and
like
the
in
They
on
Gothic
1200-1280,
of
chiefly
statues
of
century
expressive.
head
early
of
like, of reliefs
London.
"
development
great
with
marble,
at
about
Heads
1360-1530.
many
were
Purbeck
shops
the
of
chief
stops,
the
in
or
style
The
effigies
but
"Viking**
or
sculpture
about
form
however,
the
some
end
an
Periods
nor
niches
in
to
that
connected
the
and
statues
time,
These
tombs.
the
of
same
the
blended
with
abo.ut
closely
was
it, taking
and
the
third
gargoyles,
bosses,
tympana,
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
Scandinavian
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
from
though
work
of
to
seems
church
important
at
delicacy
and
school
In
1200.
end
the
Benedictine
earlier
the
where
an
influence
crude
vigor
northern
the
reached
Toulouse,
great
clearly
it
pilgrims
was
at
the
of
toward
which
which
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
which
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
Wells,
in
is
are
distinctly
the
at
(about
at
both
sometimes,
are
connection
and
is
in
1240),
shadow.
of
quality
figures
Choir
and
free
Wells,
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
especially
recessed
and
they
but
tympana.
Angels
filled.
expression
are
(about
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.
First
is
period
develops
Westminster,
the
this
of
treatment
composition.
to
Sculpture
detached
soon
1240),
manner.
less
or
for
of
in
in
Dragons
1200.
as
the
also
more
Salisbury,
the
consistent
which
and
in
Romanesque
with
voussoirs
canopies,
Romanesque
of
sculpture
arches,
on
under
the
especially
the
Westminster,
the
after
about
subjects,
carved
placed
of
capitals
carved
with
employed
was
scenes
many
connected
northwards
spread
figure
favorite
were
closely
sculpture
were
also
seldom
were
but
Wells
at
SCULPTURE
England,
Westminster,
and
Salisbury
OF
exception.
derived
MEDIAEVAL
Statues
cathedral
the
the
of
interiors
of
1200)
wood
for
The
and
Part
1 23.
few
comparison.
neighboring
FiGDRE
which
though
proportions,
in
metal
or
reflect
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
examples
of
style
in
seen
later^
places.
ot
of
Facnde
Exeter
";iithe(trHl.
(Pliolo.
Msrincll.)
"
At
Wells
large
not,
in
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,
grouped
Somewhat
and
180
stand
They
across
churches,
Perhaps
with
was
remain.
now
in
and
adorned
cathedral
which
Gothic
Angoul"me,
design
the
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,
Soon,
often
the
figure
appears
this
if
horizontal
the
in
however,
crossed
an
in
the
it
head,
spite
of
easier
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
figures
idea
the
gradually
often
in
like, and
slabs.
memorial
was
figures,
disappeared
added.
was
niche,
As
also
the
only
was
work
was
first
and
relief,
the
stone
and
marble
the
and
fonts,
relief, which
Such
Piu-beck
so-called
coffins
in
figures
the
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
influence,
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,
from
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
supplanted
earliest
alabaster
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
Bosses.
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
Southwest,
the
statues
in
which
from
excellent
Second
and
tomb
soft,
This
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.
These
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
"Kings
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
wood,
bronze.
Abbey.
I.
about
of
are
of
the
in
common
them
are
Eng-
lish
They
work.
the
Statues
and
costumes
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
at
tingham,
Not-
their
deep
ity
rigid-
ot
Chapel
"
Heniy
of
(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,
Perpendic-
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
of
the
the
bearing
seen
on
appears
in
uncommon
upon
Bur-
the
sarcophagus
This
is
is
recall
angels
heaven.
most
Vincent
Avila,
ornate,
is
two
enamel
in
at
St.
which
sculpture,
its
of
Vicente,
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
still
Huelgas,
are
side
others
at
That
in
Romanesque
the
the
of
the
the
many
of
Queen
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
Berenguela.
Queen
heavy
sumptuous
thirteenth
are
Burgos,
visitors).
style
of
and
others
is
sarcophagus,
mourners
workmanship,
Las
on
The
on
covered
whole
the
above.
supported
are
the
the
of
figures
style,
of
SarcophaKua
130.
dais
of
effect
wall
the
spandrels
tombs
Among
many
and
5ai"
upon
in
cumbrous
the
lies
deceased
set
are
capitals
the
of
reliefs
under
The
SCULPTURE
OF
figure
the
sheltered
columns.
with
the
and
cophagus,
HISTORY
in
the
130).
Egj-pt,
Slaughter
of
be
to
died
in
French
the
On
one
on
of
the
MEDIAEVAL
Innocents,
figures
on
SCULPTURE
end
one
short
are
FiouftB
and
131.
the
Coronation
and
thick-set,
Cathedml
of
SPAIN
IN
of
the
of
del
The
Virgin.
features
Piierta
Burgos;
the
the
Vir^n
Se
"
too
Spanish
strongly
pupil
accentuated.
of
the
French
The
artists
sculptor
of
the
was
cathedral
probably
of
Burgos.
248
Cathedral
The
and
1221,
the
fa^de
thirteenth
Gothic.
later
is
{Fig.
The
a
In
131).
of
the
four
of
the
on
and
is
the
door
beside
in
Here
is
the
blessed
portal
finished
of
the
second
In
The
the
Cathedral
at
in
apostles
the
therefore,
Leon.
the
work
The
Sainte
of
French
"
of
Burgos
though
example
was
imitated
somewhat
of
French
rudely,
Gothic
by
Spaniards
at
in
Bui^
Spain
de
is
Osma
the
it
style
choir
Chapelle
sembles
re-
screen
in
Paris.
sculptor.
style of the
at
interior
contemporary
the
French
the
is
of
of
of
of
century,
the
and
The
cloister,
half
sculpture.
probably,
certainly
1257.
masterpiece
Chartres
costume.
was
the
thirteenth
work
of
the
queen,
before
door
ment,
Judgthe
Spanish
in
This
is
central
Ferdinand
his
and
latter
It
the
among
are
Castile
the
similar
Last
and
of
of
is
transept
motif
lent.
excel-
door
style.
the
less
hardly
The
north
support
impressive,
statues
are
of
statue
remarkably
and
dignified
figures
are
the
lintel,
below,
the
James,
the
evangelists
lintel,
prophets
St.
is
of
seated
sjmbols
the
on
south
half
Christ
their
of
the
first
tympanum
the
among
and
of
the
of
figure
in
of
sculptures
door
work
begun
was
The
date.
Sarmental)
century
cathedral
"
French
of
are
del
SCULPTURE
This
Burgos.
at
{Pueiia
transept
OP
essentially
is
western
the
HISTORY
Sasam6n
;
cathedral
and
but
cathedral
the
at
also,
purest
Leon.
250
workman
in
who
large
the
somewhat
rather
of
style
or
In
of
with
of
type
local
fa^de
French
in
in
begun
pupils
is
is
Maria
toward
the
end
and
foliage
covered
with
carved
for
regard
wall
sjTnmetry
Saturnin
uniformity
styles
is observable
and
of
San
or
in
this
Castile.
In
the
inserted
at
instance,
are
being
with
in
on
San
as
is
there
Estella,
some
no
niches
such
cases,
but
in
The
figures
apostles
some
which
archivolts
oak,
Sepulcro
everywhere
of
decorated
are
the
are
In
for
case,
century.
the
the
more
partially
portal
doorway
which
and
is
the
is
the
taste,
vine
own
Romanesque
only
This
and
styles.
than
the
porch
his
style
old
thirteenth
Spanish
effect,
various
greater
sides
the
or
Artajona
at
the
voussoirs,
two
in
of
in
of
foliage
are
Leon
scrolls
only
on
the
at
Olite,
about
great
is
the
determined.
sculpture,
it.
to
of
from
the
this
the
in
the
powerful,
dates
in
French
the
Real,
the
be
the
and
ta
Death
general
In
incorporated
Santa
of
seen
now
Navarre
preserved,
The
whether
cannot
of
is French,
tympanum
with
though
elements.
style,
instance,
was
his
Jacques
Vitoria,
tions
propor-
ascribed
style.
and
is
Perut
churches
other
mixed
at
that
relief
Franco-Flemish),
(or
of
be
may
French
than
and
later,
are
sculptures
the
small
heavy
doors
two
tympanum
cathedral
work
the
in
somewhat
The
imitated
Flemish
The
the
the
work
who
successful
adopted
of
crowded
is
1400.
SCULPTURE
more
form.
coarse
Virgin
who
and
human
sculptors
but
OF
however,
was,
figures,
for
local
HISTORY
mixture
of
Oviedo,
of
Navarre.
cloisters
Leon
at
and
"
the
first
which
is
half
fourteenth
the
and
Catharine
Toledo
the
French
work
of
tjTnpanum,
with
monotonous.
Rehj)
is
its
and
belongs
who
exhibits
somewhat
four
the
cathedral
Spaniard
It
sculpture.
but
the
rows
in
case
the
to
was
great
rather
sculpture
of
chapel
the
At
{1316-1354).
in
begun
was
lacking
of
relief
Burgos
at
realism
anecdotic
French
more
century,
del
of
movement,
even
cathedral
fourteenth
{Puerta
the
century,
contemporary
is
the
decoration
the
transept
be
this
in
the
of
half
trifle
the
distinguishes
noticeable,
St.
to
of
entrance
this
well
to
first
north
appears
with
acquainted
liveliness
in
the
It
time.
the
and
elegance,
crowded
much
and
figures,
the
is
MEDUEVAL
SCULPTURE
Catalonia.
churches
exhibit
century.
Here,
in
begun
Jayme
heads
and
of
the
began
finished
the
These
the
Tombs
them
tomb
in
several
Fedro
a
The
popularity.
lies
in
of
figures
the
Jaime
later.
Of
the
tombs
Domingo
Fuig,
died
who
This
tomb
At
of
Falma,
(1375)
rather
Majorca,
the
same
the
the
with
of
to
set
in
the
a
the
Santo
Felipe
in
museum
efiigy
A
bishop
and
somewhat
is still in
niche
years
Other
Don
the
King
of
of
recumbent
of
six
church
of
family
tomb
marble
is
is
with
church
executed.
same
type,
is
tomb
taken
carelessly
the
in
the
type
adorned
remain.
now
King
which
over
the
at
Creus,
here
efiigies,
and
is
Santa
tomb
in
retains
tombs
and
The
Castalys
been
of
weepers
of
of
type
"
which
fragments
the
The
of
teenth
fouramong
"
reliquary
the
richest
nobles,
1306.
has
the
church
above
which
member
is of
but
recumbent
from
1384,
is
of
Valencia,
exhibits
but
"weepers,"
similar
in
twelve
ity,
original-
of
sarcophagus,
dated
Jayme
near
cute,
exe-
Barcelona.
some
group
of
shape
only
(Valencia),
Madrid.
Galiana
Foblet
at
are
by
of
and
not
of the
tombs
with
tombs
with
tombs
The
the
in
apostles,
queen,
of
monastery
the
is
but
1394,
did
disappeared.
porphyry
tomb
but
statues
"
adorned
simple
twelve
his
and
have
Here,
in
cover
This
canopy.
Boil,
an
Catalan,
in
exhibit
remarkable
ancient
somewhat
Majorca,
Claperos
splendid,
and
Aragon.
marble
high
and
most
relatively
died
they
Century.
wall
He
the
refinement.
and
the
against
set
Tarragona
are
metal
in
the
Anton
though
rich
were
of
were
of
and
Falma
big
of
portal
another
designed,
where
(1458)
Fourteenth
century
at
orig;in.
with
are
museum,
lintel.
Gerona,
at
the
by
1375
Catalan
of
Morey,
Guillem
skill
the
of
local
the
on
sculptors,
technical
the
in
clumsy,
statues
cathedral
brother
work
Catalan
lack
the
portal
are
The
(Fedro)
Virgin
his
side
apostles
of
portal
year
the
Fere
but
powerful,
in
now
1389
only
that
and
cathedral,
finished
his
the
fourteenth
the
of the
proclaims
draperies.
Lerida,
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
is
Flemish
of
in,
is the
the
work
niches
in
the
its
four
Dijon,
This
tomb
two
was
in
Pampeluna
the
(died
tomb,
Bold
in
was
1413)
exhibits
the
possible
Such
Gothic
frames
made
were
the
of
tomb
in the
work
of
in
the
are
in
begun
the
1411,
finished.
at
the
But
much
these
1416;
The
in
are
though
style
of
Pampeluna,
general
in
and
the
the
of
not
sculpture
angels,
and
as
mourners.
was
tomb
Gothic
monks,
Lomme
Lionel
way
Dijon
at
little
no
Janin
which
tomb
Carlos
gentlemen,
among
but
sculpture
Burgundy
"
teenth
fif-
the
King
of
In
movement
year
of
eflSgies,
there
Pampeluna,
same
tomb
of
mourners
cardinals.
Spanish
Tournai.
Dukes
In
"
cathedral
lie alabaster
sides
so
in
The
from
Lomme,
is there
nor
in
Century.
influence
queen,
tombs
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
Flemish
was
only
with
though
Gothic
relief.
high
churches
the
of
wrought,
and
of
Toledo
statuettes
wood,
of
century,
statues
finely
(reredoses).
gilded
century
in
combined
ture
sculp-
treatment
mixture
work
alabaster
were
At
interior
very
some
figures
form
to
not
the
fourteenth
in
French
the
in
and
This
sculptures
times.
large figures
sarcophagus
grief.
the
in
glass,
remarkable
niche.
both
interior
marble,
from
are
of
alabaster
of
general,
In
exception
at
is
mayor
distinguished
are
of
the
in
ceiling
with
lies
of the
of
variety
later
in
front
back
The
"
incrusted
Lope
died
stalactite
sarcophagus
expression
grew
style,
Mvdejar
its
elaborate
and
splendor
the
for
with
same
of
who
Saragossa,
dome
the
the
is that
gilded,
and
ends
Scidptures.
Interior
of
the
cover
is in
(1385)
monuments
small
On
the
in
and
these
freely
once
remarkable
drapery
is
figures
along
tomb
archbishop
lamps.
small
ranged
all
tomb
style,
lighted
and
are
Luna,
Over
1382.
similar
of
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
The
other,
and
retablo
latter
which
hear
and
Vincent,
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
The
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
the
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
where
represent
those
Thecla,
(Pedro)
of
by
1420
reliefs
predella.
tion
propor-
One
the
and
twelve
reliefs
the
Peter
Fere
de
in
begun
St.
folding
in
higher
are
high
by
heavy
no
Vich,
but
marble,
or
Flanders,
altarpieces.
by
of
and
previous
influence,
alabaster
those
Flemish
of
on
Saragossa,
we
made
of
1426
of
to
with
splendor.
new
Flemish
strong
like
that
Mary)
the
Tarragona
to
flanked
carved
of
attain
larger
Guillem
carved
retablo
(reredoses)
statues
in
and
Vallfogona
the
the
are
of
begun
Vallfogona
of
much
than
Oiler.
(Pedro)
St.
are
Tombs,
those
not,
also
century
from
are
width
the
show
have
fifteenth
churches.
niches,
retablos
and
the
of
in
the
statues
for
statues
wall
little
themselves
their
interior
differ
They
to
the
and
wood,
of
sculptm^
against
and
reliefs
the
first
seen
terra-cotta
Girona.
at
set
"mourners,"
;
in
still
are
century
Apostles
is
SCtJLPTURE
modelled
importaut
most
Catalonia
be
OF
sculptor
same
of
the
HISTORY
whose
alabaster
At
in
the
the
MEDUEVAL
middle
the
imitated
in
New
Adoration
by
the
church
(Fig,
Virgen
the
fifteenth
All
del
relief,
of
the
are
by
Dalmacio
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
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
painting
to
oompositionH,
introduce
most
the
of
attitude
with
these
and
no
other
artist
or
little
used
out
withof
the
Donatello
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
more
cathedral
entirely
to
In
still
own
tion.
decora-
among
(1433-1439)
Prato
at
his
and
in
Cardinal
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
of
and
the
time
Donatello
much
his
from
At
almost
the
his
choir
attar
worhs
the
church
the
the
famous
of
bronze
more
condotHe
others,
less
but
was
merely
not
but
casters,
or
also
independent
the
St.
equestrian
Gattamelata.
by
the
and
and
of
assisted
as
chief
screen
in
.-Vnthony
tiere
for
clay
bronze.
are
statue
sively
exclu-
in
Padua
high
worked
henceforth
modelling
in
this
to
had
was
casting
about
or
marble^
work
Rome
j Up
Padua,
in
stone,
works,
departure.iln
for
and
gray
return
1443,
the
of
other
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
anything
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,
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
In
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
In
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
The
pleasures
over
omitted
waking.^
Works.
Medici
the
and
impressive.
sombre
spirit.
glance
from
away
of
Later
woes,
threatening
wearily
turns
his
not
and
is
Day
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
I,
have
in
figures
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
of
Pilon
century,
of
his
are
sixteenth
of
tomb
Ion.
cacy
deli-
and
is
Pi
remarkable
characterize
the
and
the
at
anatomy,
Ixiuvre,
possession
Sculptors
of
the
Goujon,
the
Renaissance
from
now
Bontemps,
\'irtues
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
CSIVK\
..,"5v^
-*
'":"a
""
"
OF
.t
^sCTLPTURE
"fc.*v.ir:i^ie
w"
and
b"e"utiful,
Are
but
sonw
these
scul
%^
v"
"
".
ottfk
^vA-s:?^
x-"
e*
new
no
H)%^
"
wii
hepns
^-"Ii
^.tr^-.^n"'
-^aiur
i^"
jtl
'
I.
^
SCULPTURE
OF
bonne,
and
Le
by
ability
of
work
of
the
Garden
the
of
de
Institut
Puget.
making
went
His
chiefly
known
the
great
knowledge
The
life and
which
the
to
The
vigorous.
monumental
of
tomb
in
Mazarin,
from
his
the
energy
Milo
In
these
of
anatomy,
to
he
show
portrayed
and
his
seem
own
which
masterly
to
all
artificial
is
and
now
technique,
represent
ability
are
he
delivering
Alexander,
ability
he
this
where
Perseus
exhibits
and
by
which
from
Genoa,
Croton,
Diogenes
Marseilles.
date
works
he
Soon
in
Toulon,
at
he
seventeen
in
Angelo,
was
slow
1643.
more
The
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
versatile,
ornate
Brun,
entrance
of
works
the
is
of
statues
decorate
his
Le
The
Sun,
Hdtel
the
portrait
Diana
the
was
admirably
full-length
The
in
is
the
pine,
Proser-
where
studie"i.
the
Paris.
of
of
himself,
are
Guise
in
Much
Versailles
of
of
Coysevox
"
of
of
is evident.
(1666-1743),
Horses
doorway
artist.
Cond^,
Lorrain
nationale),
Coysevox.
The
le
is the
over
Imprimerie
at
may
design
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,
and
grace
was
number
but
great,
lar,
popu-
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
His
Voltaire,
than
also
when
in
Rousseau,
traiture,
por-
Hermitage
Rome.
an
Jean
to
excel
Bruno
The
"
Michel
Rome
in
St.
and
which
naturalistic
itself
is
period
de
years
tive.
attrac-
was
the
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
and
though
graceful,
eighteenth
a
gained
this
degli Angeli,
Washington,
graceful
He
twenty
His
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
his
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,
broke
easts,
or
His
Dijon.
group
floats
war
originals
of
great
IViomphe,
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
figures,
Atalanta
Versailles,
at
less
character,
chiefly
such
of
Invalides,
In
combines
In,
(\c
the
in
in
bourg
Stras-
Pkcp
about
Napoleon
the
and
and
figures
of
Triomphe,
the
Concorde,
in
James
Lille^
in
he
classical
and
Victory
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
and
freed
he
for
and
numerous
of
His
statue
was
exhibited
at
in
in
of
his
-/^
of
statue
Hebe
and
less
and
the
as
first
of
for the
conventionsof
the
figures
of
the
him
In
realistic
of
pediment
bunches
the
the
of
in
war
group
is classic
luide
male
to
and
the
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
baton
marble
wore
sometimesthey
an
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
it from
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
trammels
the
the
of
and
Centaur
in
Tuileries,
are
Barye
action.
who
as
Crocodile,
and
gardens
freed
ranks
sculpture
one
classicism.'
conventional
pupils
Two
devouring
Lion,
d'Angers
of
museums
Tiger
the
all
seen
realism
vigorous
and
FremkL
in
bronzes
are
In
be
almost
was
small
His
to
are
Serpent,
masterpieces
animals.
and
of
portraits.
"
of
vary
instance,
for
them,
Philadelphia.
celebrated,
characteristic
and
Antoine
is
Jefferson;
which
best
strong
are
Barye.
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.
The
the
tory,
of
"
"
St.
few
life
Horses
George
and
are
than
'
Jean
anil
or
(1S{).5-1S67).
Louis
dceoration
Jean
iBUnii^
school;
J"*ph
{l"TJ-HXM),
and
plaj'ing
known,
who
of
the
visit
Obser\'a-
equestrian
statue
Meissonier
are
and
power,
truth
to
Lemairu
Sylvestre
Jowph
pupils
Perraud
Dure!
of
whom
Uiiiltuunie
Jean
U
all
Baptiste
the
moat
Aotoine
are
Gabrid
(1796-1845).
Chuiei
Georges
of
AuguBtin
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
standing
works,
other
any
David
are
of
"
the
especially
almost
the
the
admirably
Carj^etivx.
by
seen
his
of
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
sons,
lies
nude
and
more
The
makes
impre5.sion.
de
Flore
the
Opera-house
produced
brilliant
and
relief,
in
holding
which
before
his
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,
j-ears
was
Dubois.
four
(the
power.
only
not
the
globe)
fifty
was
high
very
crowns
as
and
movement,
died
of
celestial
that
('arpcaux
()bservator"'
the
up
its
the
and
Paris
represented
continents,
and
group
of
examples
the
work,
unpleasant,
I/iuvre
group
of
grace,
the
Home
at
played
dis-
decoration
of
the
Fountain
in
the
Academy
a
"
Inferno,
"
tures.
pos-
the
though
In
Pavilion
and
the
who
son
contorted
remarkable,
in
the
statuar"'
four
knowledge
i)owcrful,
his
the
less
or
Carpeaux
The
1861.
except
of
group
the
Fisher
1858
such
ami
anatomical
is
of
all,
in
dead,
of
until
Ugolino
of
undertake
to
delayeci
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
Paris,
The
was
finish
ciSre
of
of
the
characteristic
in
the
are
of
modem
the
the
Jeanne
widely
variety
and
charm
work
and
possesses
combined
lienaissanee,
"Florentine
tomb
d'Arc
most
his
His
the
Donatello
of
and
Early
times.
the
his
perhaps
works
centurj,
Luxembourg,
and
of
the
by
charm
He
exquisite.
fifteenth
the
of
Nantes,
at
Paris)
the
realism
179)
is
statues
influenced
Italians
something
(Fig.
his
evidently
other
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
(1819-1891),
created
nothing
the
of
the
some
best
and
part
Arts,
Beaux
and
ous
numer-
sculptor
busts
portrait
refined
and
of
and
of
whose
chief
his
at
who
at
and
was
activity
of
finely
popular
sculpture,
was
great
in
the
of
the
in
certain;
not
Antoine
Bonas-
Jean
Le
Puy;
Pierre
Carrier-Beileuse
works
is
Orleans;
medallions;
Virgin
simple,
the
figure
d'Angers
character;
ability,
merit;
The
d'Arc
for
of
Republic"
180).
colossal
religious
artist
the
David
known
the
charming
factory.
of
Jeanne
dignified,
are
artist
surpassing
but
of
of
of
porcelain
the
on
forms
as
is the
with
equestrian
author
works
an
Luxembourg,
Sevres
by
visionar"',
Justice,
His
(Fig.
connection
the
works
whose
(1814-1894),
author
is
the
in
Millet
in
whose
(1809-1879),
(1810-1892),
form.
known
which
Chapu
Triumph
Paris
at
work
sieux
de
(1838-1902)
"The
Nation
Pr^ault
Auguste
is best
des
an
as
female
Ecole
Palais
figures.
Dalou
group
(1793-1863),
most
period,
admired.
Jules
striking
the
exhibit
impressive
justly
"
in the
monuments
and
are
Place
Berrier
to
in
tion
apprecia-
latest
nude
YQUth
Paul
appears
serious,
of
figure
hardly
de
girl crouching
once
Regnault
to
funerary
at
throwing
over-
but
his
his
he
the
peasant
young
beautiful
monument
and
of
value
Progress
Vincent
St.
(1833-1891)
expression
The
monument
and
an
determined.
of
Chapu
d'Arc,
of
Diana,
modeller
missions
com-
striking,
works
the
or
The
the
of
expression
several
Dancer"
Michel
is
acter
char-
numerous
group
figure
of
in
skilful
Jeanne
the
mastery
and
"The
exceptionally
Henri
In
of
diminished
great
Pantheon,
clearness
sentiment.
very
and
early
are
points
of
his
the
the
his
character,
as
his
works
whole.
executed
carelessness
later
Error,
essential
but
pain,
exceptional
appreciation
he
some
his
of
some
and
which
the
seize
to
in
These
shows
the
Christian
dying
boy
in
is in
"Tarcissius,
a
he
"Victor
This
salvation.
of
statues
situation,
of
Falguiere
bronze
cock.
marble
figure
later
expression,
or
the
also
his
by
carrying
consciousness
his
in
known
boy
recumbent
happy
is
as
Martyr,"
best
nude
Joseph
Alexandre
Jean
"
probably
Fight,"
Cock
the
SCULPTURE
OF
HISTORY
he
Jules
executed
in
his
day,
(1824-1887),
such
designing
as
was
Caveller
the
models
Aim6
but
the
Hebe
for
SCULPTURE
IN
stands
Republic
hidden
drawn
by
torch
rests
The
attitudes
of
of
his
of
some
the
but
in
as
this
The
originality.
is
masterly
in
the
defying
Ernest
Louis
Barrias
most
the
the
but
Paris.
ties
orders
of
his
from
detract
to
of
influence
the
which
D^put^s,
king,
the
(1841-1905)
"
order
and
impressive.
and
as
Chambre
the
by
criticised,
shows
strong
so
Labor,
clear,
not
Dulou.
is
composition.
Bamwt.
of
is
DaU)u
this,
never
relief
Mirabeau
represents
Reimlil
holding
accompanied
are
beautiful,
"
chariot
sj'mbolize
justly
are
dignified,
Tht
ISO.
two
whole
from
figure
figures
last
figures
is
works,
art,
the
as
the
Republic
other
ancient
and
male
is
that
structure
rbing
nude
other
composition
In
lions
on
whole
almost
Fecundity,
Cupids.
figure
An
the
the
359
BELGIUM
AND
supported
volutes
lions.
upon
and
Justice,
and
two
ball
upon
leaves
by
FRANCE
and
power
of
genius.
conspicuous
though
originality,
He
of
executed
which
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
entirely
and
execution.
"The
First
Funeral,"
The
Abel
of
those
love
we
of
his
the
figures
of
Adam
made
to
the
the
to
violent
Eve
the
all.
us
Marius
Mercie.
his
unusual
J. Antonin
Mercie
of
magnificent
in
of
dead
son's
strongly
battle,
musket
the
to
chiefly
Dead
(Fig.
Jean
Jacques
most
consummate
In
the
an
opening
but
are
the
the
same
Rousseau
emotional
good
beauty.
technique,
Denys
the
sculptor
of
body
beautiful,
who
has
"Quand
seized
his
most
funereal
Philippe
Louis
her
appeals
of
who
one
his
has
Several
the
and
his
the
they
of the
is
time
intensity.
Puecli
in
in
its
dignified
the
possesses
skill
upon
in
In
an
1860)
Moris,
Only
are
is
another
woman
grief.
The
realism,
The
beauty
Bartholome
and
of
corpses
of
of
groups
crouching
and
works
composition,
(b.
enter
beautiful.
dignity
death.
woman
the
agony
is the
by
uncompromising
and
other
to
former
sides
the
to
caused
Aux
are
whom
1848)
monument
young
the
below
gazing
is terrible
At
opening
arms
grief
inscription
enter.
child,
the
The
and
is the
and
Pantheon.
man
(b.
Monument
great
Lachaise,
in
as
Bartholome
Albert
of
young
and
composition
to
use
Victis,"
country,
of
Paul
Pere
another
outstretched
is
"Gloria
aloft
feelings.
account
seen
his
her
those
which
woman,
at
effective
Luxembourg,
mother
defend
"
at
part
the
and
representation
In
entire
Alsatian
Rousseau,
over
backs
disclosing
masterpieces.
on
181),
upper
mourners.
with
an
Puech.
known
man,
inspiring
to
are
Barthohme.
their
is
patriotic
Dreux,
at
in
bearing
especially
monuments,
queen
of
death
Nature
(b. 1845)
Donatello,
Fame
representing
meme,"
is
of
work
group
fallen
"David,"
His
ability.
charm
has
dead
the
the
makes
"
the
"
pressive.
im-
most
bearing
Barrias
Luxembourg,
the
grief which
In
perhaps
marbles.
colored
of
is
in
fine
works
Luxembourg,
and
is not
are
other
the
pedestal
attitudes
themselves
many
typify
of
classic
severely
figures
Of
brings
in
Herself,"
the
in
are
combination
The
in somewhat
though
happy,
design
body
with
poet
allegorical figures
the
Paris.
Hugo,
the
SCULPTURE
OF
ment
monu-
without
shows
appreciation
whose
of
work
362
Cain.
Augusie
works
\
of
rival
'
and
Cain,
in
animals
represents
:'
in
Barye
with
Rodin.
the
the
influence
upon
in
countries,
other
sculptors
of
Cain
(1822-1904),
truth
to
playful
manner
sculptor
who
animals
whose
life, and
Gardet
Georges
more
evidence
(b.
than
1863)
who
Barye
and
truth.
equal
But
"
vigor,
and
observation,
accurate
Two
"
Auguste
here:
of
those
SCULPTURE
Gardet,
Georges
mention
deserve
OF
HISTORY
French
of the
art
Auguste
is
time,
present
Rodin
the
exerts
both
in
greatest
France
(b. 1840).
and
He
was
atelier
of
where
he
of
pupil
then
Barye,
under
modeller
also
was
the
at
and
sculpture,
made
for
and
been
has
French
striven
truth
of the
facts
show
originalitv
for
guished
Barrau
(b.
1848)
1888)
Jean
Antoine
sculptor
of
Alfred
successful
;
nude
L6on
no
and
Fagel
(b.
excellent
busts
portrait
and
graceful
busts
Riviere
Th6odore
colored
whose
1858),
of
is easy,
poor
attractive,
FranQois
among
later
of
even
Raoul
whom
of
but
marble,
is
whose
1857),
of
both
male
1850).
but
exhibit
known
early
statuea
whose
popular
times
(b.
1860)
Victor
by
many
;
;
duced
pro-
for
are
portrait
artist,
Aug;uste
and
marbles,
Dampt
(b.
metals,
Auguste
ivory,
and
tions
combina-
whose
(b. 1858)
Gauqui6
the
Roger-Bloch,
sculptor
Joseph
the
able
L6on
Ambroise
Jean
inclusion
artists.
of
cellent
ex-
Louis
bronze,
fVanQois
the
has
style
at
moved
re-
(1849-
best
and
a
Jean
dc^ath
who
monuments;
groups
prized
D6?ir6
Henri
Larche
are
small
much
are
playful
extended
public
whose
(b.
Thfophile
(b.
1851),
powerful,
more
Verlet
are
small,
1866);
date
1853),
nude,
wrought,
(b.
work,
(b.
several
weU
are
Michel
Carl^
Raoul
materials
Bareau
(b.
Georges
list might
be greatly
sculptors,
of
combination
often
statues
distin"
sculptor
a
of
public
monuments;
good
of
decorative
Jean
author
works,
different
and
(1857-1912),
in
stones
and
the
of
1845),
early
Marqueste
exclusively,
not
author
1850),
(b.
Longepied
of
Honor6
model,
1845),
;
the
Cordonnier
whose
sculptor
Fr6d6ric
Charles
and
teacher,
though
his
nude
he
in
Am6d6e
Eugene
Laurent
busts
those
delicate,
brilliant
Gustave
Antonin
excellent;
are
L6on
(b.
statues
(184^1884),
chiefly,
whose
1851),
Idrac
repose
Peynot
Emile
originality;
marked
some
his
popular,
in
the
of
art
throughout
truth
Alphonse
promise;
1850).
tfnd
ancient
AUar
Joseph
(b.
Injaibert
treatment
portant
im-
most
presented by
nude;
his
sentiment.
by
but
Ages,
Antoine
the
Marie
(b.
motion
Edmond
of
brilliant
Boucher
in
female,
influenced
as
admirable
and
in
the
and
pathos
Andr6
Jean
sculptor
element
photographic
technique;
and
busts
1848),
"
tendency;
fine
(b.
and
good
and
academic
somewhat
chief
of
of nature
Brussels
designer
as
is often
Middle
not
the
Sevres.
much
of the
art
of
fa9ade
at
master
the
Brussels,
employed
the
times
after
reproduction
on
the
movement
too
different
at
the
by
was
movement
is also
in
years
in
he
time
Rodin
He
thing.
has
for
six
porcelain factory
had
Carpeaux
He
Rasbourg
Van
he
Bourse;
which
after
Carrier-Belleuse,
worked
for
worked
great
Sicard
(b.
(b.
1867).
number
of
of
the
1862)
The
younger
SCULPTURE
but
truth
of
this
in
in
finished,
are
great
care.
Nose"
for
is
(1898)
(clay
the
of
who
burghers
for
(1904)
is
of
brooding
the
of
Balzac,
loose
such
unfinished
if to
are
in
no
accessories
is
result
his
is
and
in
thoughts
"
in
bronte
York,
in
P"ris.
the
to
solid
which
is
they
he
from
tut
are
from
layman
He
the
the
has
imall
work
aimed
the
giving
brome
of
id
the
removed.
the
sculptor
to
judge
to
to
the
suppress
as
less
to
what
his
express
material
Metropolitan
no
but
distance,
proper
attempted
without
The
sufficiently
course,
and
rough,
indicated.
usually
of
being,
left
even
unless
has
origillB]
is
everj'thing
Rodin
material,
is
finished,
un-
have
to
as
essential.
illiutratioD
The
New
is
if viewed
works
not
as
is
unessentials
details,
is
it
nearly
impressive,
unessential
actually
out
or
later
in
man
rejected
finbhed
incomprehensible
In
portrait
indeed
Here
nature.
"
tive
primi-
of
The
worked
details
the
be
die
embodiment
was^
and
power
the
to
Balzac
writing,
in
wore
of
Thinker
stout
as
same
the
is
1895)
The
182).
short,
robe,
of
thought
(Fig.
man
Burghers
forth
"
powerful
full
feelings
city,
severely
the
presentation
walked
tiieir native
realism,
for
by
and
bronze
supposed
Broken
its
Kiss"
modelled
realistic
with
the
of
Nevertheless
posture.
"The
1889,
wonderfully
was
finished
account
on
and
sketches,
with
criticised
vaiy
exquisitely
partly
Man
appreciated
"The
sentiment,
Calais"
(1879)
was
finely
and
result
works
are
rough
mere
"The
work
then.
even
Some
rough
the
walking
its
his
development,
opposition
"
John
works
many
first
aroused
St.
these
in
As
thought.
onii
sight
363
BELGIUM
technique.
first
partly
his
own
In
at
His
and
reason
and
AND
of
his
of
are
left
"
the
of
and
style
(1864)
and
FRANCE
expression
some
others
the
striving,
greatly
of
IN
Museum
thsD
Uie
lu-ge
364
and
original,
freedom
of
all
from
habit
his
men
less
the
daring
of
contrasts
what
become
light
his
for
employment
and
him
is for
shade,
and
unessential
has
of
own.
of
some
his
is
It
in
held
been
when
defects
gross
his
than
Rodin
vagaries
of
good,
effect
"
genius
that
justice
for
and
peculiarities
of
his
restraint,
unfinished
leaving
of
these
all
academic
powerful,
is, its
been
always
his
result
Rodin
of
art
not
As
Vigorous,
the
as
has
attitudes
contorted
detail.
understand.
beautiful
often
in
out
to
contemporaries
his
upon
worked
difficult
is often
thought
SCULPTURE
OF
is definitely
that
form
HISTORY
imitated
some
responsible
measure
by
without
not
contemporaries.
younger
Belgium
The
School.
Neo^ldssic
style
replaced
much
the
the
produced
noted
most
In
his
gifted
remains
to
number
of
them
the
tombs,
in
all
and
in
1885)
quite
works
quite
the
of
known
Bouillon,
at
the
exhibit
his
spirited
but
vigorous
same
(1812-1877),
Joseph
Jacques
Charles
Ducaju
sculptors
of
of
of
equestrian
his
other
and
the
period
of
which
style.
but
among
the
not
numerous
is
most
newly
is
Godfrey
are
of
many,
Pierre
(1817-1893),
are
when
his
lion,
(1810-1882)
statue
Fraikin
(1823-1891)
the
(1808-
Antwerp
dramatic
August
I, and
Geefs
Of
works,
among
FrW6ric
Guillaume,
at
great
and
Simonis
Eugene
rococo
woman
technique.
these
the
groups
Joseph
most
(1805-1883).
Leopold
nude
other
of
of Count
tomb
brother
Leopold
Louis
Vigne
important
of
Brussels,
the
of
produced
and
busts,
cists
classi-
and
of
He
with
the
Geefs
statue
good
those
exuberance
his
as
than
Belgium,
mentioned.
prolific
Belgian
ainong
calm.
the
mention.
by
the
and
the
were
in
pseudo-classic
Eiu'op)e,
of
Guillaiune
group
be
monument
lifeless
B61iard,
as
deserving
best
as
less
statues,
Gudule,
may
best
academic
sentimental
Brussels,
was
of
pulpits,
Ste.
the
school
eldest,
of General
statue
romantic
the
in
brothers
classic
the
was
enliven
M6rode
though
something
style
elsewhere
as
Geefs
the
of
sculptors
the
de
six
the
Belgium
somewhat
works
The
countries.
rococo
results,
same
In
"
the
de
and
most
acquired
SCULPTURE
of
independence
especially
in
works
classic
the
PRANCE
IN
Belgium
the
creation
of
is
style
fresh
gave
365
BELGIUM
AND
impetus
public
sculpture,
to
In
monuments.
modified
romantic
by
their
and
rococo
traits.
The
New
The
School.
that
realistic,
which
Vigne
in
French
school.
His
religious
revery,
in
"Immortality
in
Arts
the
portrayer
the
"
Sword
Dillens
feelings
and
still
school,
De
Grool.
like
wa.s,
and
the
in
the
stricter
de
base
Cockerill
the
sculpture,
influence
The
As
young
man
he
1872
of
for
their
of
the
of
Brussels,
labor
the
their
chief
in
and
workmen
but
the
end
of
and
complete
Meunler
(1831-
original,
time
realists
of
labor
manual
group
in
monument
was
ments.
monu-
museum,
therealisticschoo],wasConstantin
sculptorof
subject
Brussels
powerful,
most
chief
glorified
in
glorification
the
the
the
represented
the
made
who
Belgian
1904).
of
in
Justice
coldness.
1839)
figure
mental
monu-
among
Meunler.
laborer
(b.
Groot
(1830-1892)
the
man
de
dramatic
powerful
Cathier
at
sense
Guillaume
art.
the
make
"Death
his
"
in
Man
works.
funereal
lingering
Cathier.
his
Palais
his
him,
"
His
ability
some
Bruges
(1843-1910)
others
academic
its
not
good
in
the
at
characteristic
sentiment
exhibit
Beaux-
"
but
Brussels
"Justice"
and
though
Coninck
in
artists,
three
contemporaries,
RealitU.
the
des
sentiments.
showed
the
museum,
Palais
Stappen
and
powerful
them
Brussels
Mgnc,
at
museum
as
De
proachable
irre-
always
Among
der
van
charming
These
and
modem
tenderness,
are
the
de
much
the
turns
the
of
front
been
by
pose.
in
de
the
such
and
they
in
Paul
than
in
fervor;
Breydel
(1849-1904)
Brussels,
classic
"
are
groups,
at
the
the
Charles
Ompdrailles"
Julien
in
vigor
by
graceful
human
of
express
are
Paul
had
France
more
school
realism
sculptors.
in
"Poverella"
Art"
and
greater
with
of
"and
mentioned.
showed
a
and
Brussels,
be
may
patriotic
or
of
and
figures
form
"Triumph
poetic
the
this
who
artist,
Donatello
by
of
the
is
1880,
life, than
manifestations
was
Italy
real
of
DiUena.
Stappen.
about
with
personalities
(1843-1901)
der
beginning
touch
The
the
as
impressed
the
in
more
it.
preceded
various
as
is,
Van
Vigne.
school,
Belgian
new
"
De
sculptor,
then
he
HISTORY
worked
for
many
in
sculpture
"The
Grisou),
he
of
the
fidelity,
the
not
yet
sudi
(Fig.
in
the
of
'
with
his
spirit
great
who
with
life.
those
and
type
the
subjects
His
have
to
seem
complete
type,
the
reality
sculptors
with
person,
endowed
various
the
nature
but
individual
"Firedamp"
like
who,
to
Sower,"
laborers
imitated
Greece,
"The
and
183),
master
returning
as
representing
himself
of
days
painter,
statues,
reliefs
showed
great
his
as
Stevedore"
his
in
industries,
In
1885,
"The
SCULPTURE
exclusively
years
Smith,"
(Le
OF
little
in
common
of
the
ancients;
is
the
spirit
but
of
the
masters.
Lambeaux.
Jef
Sculptors.
Other
not
in
the
his
work,
in
temple
Cinquantenaire
du
bears
the
great
the
Pare
sions."
Pas-
powerful,
tional
emo-
in
impressive
freedom
daring
"Human
is
work,
most
Brussels,
at
title
It
the
violence
Indeed
single
relief
of
as
passions.
extensive
much
so
labor
of
sculptor
Lambeaux
"
is
(1859-1908)
and
Lalairtg.
Viv^oUe.
its
from
restraint,
its
originality.
I
and
its
Figure
dore,
energy,
Similar
qualities,
though
not
marked,
strongly
seen
Kiss"
the
in
seum
mu-
groups,
at
and
Brussels,
Grand'
of
His
pediments
though
are
of
of
the
the
Palais
and
Thomas
well
the
Brabon"
Vin9otte
He
in
(b,
and
excellent.
at
museum
de
technique
delicate
1850)
love
great
filled
has
the
are
Justice
at
crowded,
as
and
Antwerp
at
museums
de
in
"Fontaine
Antwerp.
somewhat
as
Wrestlers"
beautiful
portraits
perhaps
vigorous
the
at
strong
truth.
that
in
Place
possesses
"The
and
Antwerp
his
in
are
"The
the
so
Ml
by
attractive.
Brussels
Brussels
with
reliefs,
Count
and
and
impressive,
hb
statues
Jacques
de
SCULPTURE
better
Lalaing,
self
British
of
in
in
fell
his
of
statue
their
of
worthy
(b.
1855),
especially
(b.
been
der
piention
and
carved
Stappen,
Braeck
as
Delicate
by
Josu"
{b.
(b.
Julien
charming
Dupon,
and
Lton
Alejnon
Other
Lagae
sculptors
de
(b.
Charles
and
Samuel,
ivory
1862),
have
Charles
van
Beuren.
van
Rudder
Samuel,
of
statuettes
Alphonse
animals;
are
Jules
also
guished
distin-
of
Isidore
Charles
Dillens,
is
Chicago
1845),
1859),
"Fighting
have
1864).
sculptor,
portrait
and
in
I^Iaing,
(b.
Dupon
Desenfans
are
Pierre
gifted
1862).
Josug
Salle
to
his
representations
Vin^tte
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
Baily
for
Wedgewood,
the
reliefs
cold
sculpture
with
Josiah
of
Flax-
importance,
From
to
marble
possess
Edward
and
his
of
style.
for
illustrations
drawing
little
remained
and
neo-claasic
revival
John
by
affected.
was
the
he
Canova
designs
Some
was
classic
in
making
in
Dante.
classic
himself
of
are
where
of
influence
entirely
*a3
done
and
the
to
was
Italy,
to
Canova
work
was
went
The
"
initiated
works
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
the
was
In
he
went
and
is
and
strictly
correct
garments.
Venus,"
the
the
of
work
without
mediaeval
of
William
Pitts
Richard
John
in
imitate,
to
Allan
art.
with
slightly
Chantrey
portrait
sculptors,
Thomas
until
"
time
after
considerably
broke
be
regarded
was
Alfred
He
received
St.
one
and
Paul's
decorative
contrast
in
did
chief
his
cathedral,
sculptures
to
the
the
feeble
the
produced
efforts
breadth
of
first
most
the
of
of
of
hb
of
of
real
freedom
to
naturalism
to
works
Duke
and
who
man
sufficiently
precepts
work
sculpture
in
pupil
the
survived
century,
reality
from
to
(1806-1864).
transition
the
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
of
than
Behnes
of
like
works,
more
E.
the
(1799-
were
John
that
Stevens
who
his
William
beginner
George
but
Angelo,
the
as
also
greater
the
from
away
monuments,
of
(1790-1858),
Weekes,
his
middle
before
brilliancy
whose
the
Henry
and
the
toward
movement
began
were
of
beauty
Macdowell
little
forms,
Although
Stevejia.
some
the
as
(1784-1845),
Kirk
Alfred
of
some
on
used,
(1764-1817),
Campbell
are
and
Cunningham
the
Theed
(1814-1877),
varying
tised
prac-
sculptors
Patrick
contemporaries,
other
robed
statuary.
Thomas
Durham
the
"Tinted
and
Other
(1795-1858),
Joseph
in
is
timidly
richness
William
wer"
(1790-1840),
Wyatt
and
of
the
School.
school
all
statuary
lost
it
"
classic
those
of
"
strictly
1870),
received
polychrome
Classic
the
Hylaa,
his
rather
were
acquiring
modem
or
Others
exhibited
coloring
colors
well
not
was
marble
white
His
Greeks.
Mars
Victoria
Queen
the
Followed
sculptures,
he
1862
revive
to
attempt
an
by
and
style.
In
earliest
Narcissus,
similar
His
Canova
His
then
school.
under
1844.
Zephyrs,
other
classic
classic
studied
until
by
and
Leander,
classic
in
borne
(1790-1866)
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.
uninspired
most
1817
IN
sen,
Thorvaldhis
master.
of
Michael
Wellington,
His
power.
in
marked
contemporaries.
380
his
The
the
is
classic
and
busts
of
figure
in
equestrian
perhaps
his
of
in
power.
school
Woolner
popularity
is
in
late
developed
latest
like
other
of
spirit
in
of
members
the
medallions
the
Sir
"
an
by birth,
Austrian
toward
naturalism.
Among
his
the
best,
Dean
Westminster
his
to-
works
infuse
he
life
new
Alfred
Hugh
Stanley
kinds
tectual
of
decoration,
hall
offers
best
part
of
exhibits
English
good
the
work.
of
was
chief
which
example
decoration
the
;
he
of
the
the
the
movement
excellent.
b
it.
In
in
active
seconded
Henry
in
sculptor
was
Office
the
of
efforts
others.
activity
also
the
some
His
ably
were
and
Albert
possibly
and
spirit.
an
busts,
Shaftesbury,
equal
Colonial
was
catch
Bedford,
Earl
Lant^ri,
His
to
(1834^1891),
of
sculpture
Edouard
he,
Chelsea
at
modem
the
(1828-1905)
Armstead
various
in
quite,
or
works
usually
are
Carlyle
the
his
conception.
aiding
busts
his
least
at
statues,
in
in
in
naturalistic
Boehm
Bunyan,
nearly,
int9
Gilbert,
Edgar
works,
Pre-Raphaelite
of
portrait
Joseph
and
the
the
tried
elevated
John
Abbey,
ideal
by
the
earlier
and,
some
and
the
statues
though
of
statues
His
portrait
His
portrait
in
and
instrumental
was
his
the
Thomas
accepted,
of
of
strength
of
Brotherhood,
refined
are
ArmMead.
in
principles
1848,
originality
sentiment
Renaissance.
Early
Boehm.
classicist
member
original
an
founded
traditions,
some
the
Housemaid,
the
Marshall
century.
romantic
subject,
was
Brotherhood,
showed
of
amples
ex-
"Stonewall"
neo-classic
proof
The
work.
of
He
of
he
Calcutta,
latest
Calder
nineteenth
also
vein
choice
his
the
was
important
school.
and
Son
Sir
lifelike,
the
General
the
in
"
and
of
W.
Asia,
of
in
Outram,
of
statue
of
statue
vigorous
One
Virginia,
(1825-1893)
but
the
Prodigal
his
is
but
tic.
naturalis-
group
His
James
faithfully
"
His
work.
achievement.
is
art
Sir
the
(1818-
works,
and
and
galley,
of
statue
continued
that
classic
Tate
Foley
earlier
modem
more
his
are
the
his
Consort
Richmond,
at
(1813-1894)
and
Henry
in
are
Prince
greatest
his
Jackson,
statues
the
Reynolds,
except
John
traditions
Memorial,
the
in
Woolner.
the
Albert
Joshua
but
SCULPTURE
"
followed
portrait
on
OF
Marshall.
Foley.
1875)
HISTORY
author
Memorial,
in
in
archiWTiiteof
the
of
the
'
MODERN
fountain
SCULPTURE
King's
in
in
College,
He
restaurant.
number
of
such
and
solidity,
(1897;
and
(1901),
received
his
in
measure,
frankly
severity,
and
in
tempered
Simoads
George
then
in
and
works,
"The
Goddess
York).
and
welt
Baiea.
produced
pupil
works
ideal
"Hercules
and
of
against
in
later
Memorial
later
Harry
reliefs
received
are
Leopard,"
Park,
refined,
of
He
Bates
the
His
his
(Fig.
187).
His
technique
and
in
early
good.
training
of
is
Hamo
his
some
and
of
from
are
character.
who
all
excellent
His
(b.
Thornycroft
father,
nified.
dig-
treatment
free
busts
classic,
measure,
modern
and
serene
Victoria
is still
refined,
united
portrayal
from
in
his
Poetry"
Queen
he
scholarly,
portrait
W.
the
works
ment
Mo-
and
of
as
and
Indian
and,
(1850-1899)
style
his
author
is
well
"The
Genius
His
as
and
style,
"The
earlier
was
master.
statues,
American
and
work
his
1847)
(b.
He
"Salamacis,"
early
romantic
His
especially
beyond
and
an
is the
In
Brock
"Eve,"
as
hb
serpent)
London.
form.
restlessness
in
many
Central
sculpture.
busts
in
great
style.
classic
both
his
Thomas
far
such
combat
(a
adopted
naturalistic
and
mental
monu-
imaginative,
of
portrait
figures,
manner.
in
"Sir
advanced
Antaeus"
Peril"
horse
has
many
numerous
but
to
produced
(in
intellectual,
quantity
great
include
his
is
has
astride
Falconer"
Tkomycroft.
but
Foley,
of
"The
Dresden,
in
addition
In
virile
animation.
Schilling
he
is
executed.
Brock.
has
Rome.
is
Greek
at
work
lacks
of
pupil
in
(1888)
His
possibly
(1832and,
aimed
he
Dionysus
as
work
nobility,
Scotland
work
sculpture,
"
His
has
morse"
"Re-
Lawson
feeling.
and
Gerd,"
work
in
later
was
Brussels
such
works,
kitten),
Sampson"
but
decorative
ideal
New
his
(b. 1844)
worked
ideal
His
"Dominie
distinction,
possesses
with
the
considerable
several
education
modern
by
of
doorway
Anderson
George
His
humorous;
ment"
"Entomb-
style.
artistic
Rome.
the
also
(1882).
of
Simondt.
"
1904)
marble
girl
"Ariel"
largeness
Lawson.
of
besides
busts,
"Playmates"
as
the
381
BRITAIN
produced
and
effigies
GREAT
Cambridge,
and
church,
Hythe
Holborn
IN
was
1850)
an
in-
different
his
of
Flaxman
early
work,
(1881)
is
retains
traces
already
The
realistic.
He
with
"Sower"
the
of
author
and
but
in
and
in
than
his
his
work
refined
of
beauty.
he
the
and
has
works
of
been
School.
typical
is
the
and
taken
of
was
brought
from
Paris
years
master
Hewas
the
at
of
and
by
and
sentiment
and,
the
sculptor's
interest.
and
therefore
this
to
is
to
aims
at
all,
Drapery
for
nude
production
W.
but
its
for
S.
likely
figures
of
to
Alfred
Frith,
tendency.
new
and
realism
ful
taste-
is
form
the
are
some
Kensington.
of
beauty
refugee
restrained
action
is
influence
influence
was
the
Not
grace.
the
and
is
the
South
at
encourage
realistic,
above
preference
leads
commune,
has
change
Dalou,
who
classes
sculpture
It
Jules
by
Lant6ri,
helped
English
poetry
the
Edouard
by
picturesqueness.
but
of
modelling
others
modern
Carpeaux,
mainly
time
the
succee"l"l
Gilbert,
The
England
to
away,
that
to
but
vious
pre-
spirit
This
place.
originally
the
passed
vigorous
its
due
of
has
more
the
sculpture.
classicism
generation
the
in
change
British
of
dull
in
Thomycroft
and
of
character
The
noted
Brock
change
The
-"
which
exhibits
New
Character.
the
reliefs
taste,
"^
Beginnings
lU
portraits.
work
better
strength,
sense
frankly
monuments
real
his
all
and
are
general,
is
"Teucer"
(1888)
public
ideal
round
his
romanticism
of
of
In
his
"Mower"
number
some
and
"Medea"
The
mingled
the
in
seen
and
quality,
and
is
(1878)
Wife"
realistic.
toward
was
This
antique.
"Lot's
classicism,
is the
tendency
romantic
more
of
realism.
the
his
have
SCULPTtTRE
natural
and
but
(1880)
"Artemis"
his
and
sculptor,
imitation
of
OF
HISTORY
hide
alone,
objects
the
is evident.
statues
pered
tem-
of
action,
sionally
Occa-
which
are
SCULPTURE
MODERN
little
than
more
modern
mention
to
all
Thomas.
(b.
figure,
modern
In
is full
life and
of
work
Onslow
both
busts
of
noted
College,
almost
female
for
In
and
beauty
the
the
human
figures
skill.
ideal
and
realistic
Watts.
figures,
at
the
and
few
statues
Lichfield,
works
and
of
groups,
"Hugh
time
same
"
Sir
distinguished
chiefly
Two
Lupus"
and
Watts
for
1860)
chiefly
powerful.
few
originality,
and
of
sculptor
work
His
nudes.
ment
move-
relatively
is
Frederick
George
is
the
Duke
exerted
great
produced
of
Watts
(1830-
Leighton
''Bishop
them
among
he
Swan
the
and
the
(later Lord)
themselves
sculpture.
feeling
romantic.
painters,
Frederick
of
showed
female
fine
animals,
lifelike
(b.
Lucchesi
chiefly
Macallan
of
In
he
but
occasionally
presentation
accurate.
Shelley,
portraits
John
sculptor
produced,
Leighton.
(1817-1904)
1896),
he
of
as
most
are
displayed
remarkably
and
fine
Carlo
Andrea
pleasing
by
is
modelling
His
is
that
though
naturalistic
cats
great
The
statues
detail.
especially
His
he
refinement,
elaborate
was
felidae.
of
works
Irving
Ford's
ideal
artist's
finely executed,
Onslow
His
his
great
much
too
(1847-1910)
of
all
is
It
portraits,
are
is
which
design.
unsurpassed.
nudes.
employed
in
His
Edward
many
camel.
monuments
Oxford,
artificial
somewhat
are
memorial
of
latter
on
this
feeling.
artist
several
types.
general,
the
whereas
neo-classic.
poetic
the
mounted
other
University
of
Among
Gordon
his
In
carves
for
Italian
not
modelling.
himself
but
type,
was
with
South
is
sculptor
himself,
devoted
full
and
statues.
and
Hamlet,
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
The
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.
Dalou,
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
Semiramis,
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.
Wetmore
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
be
to
become
to
should
art
New
Square,
refused
in
carved
Bowditch,
Is said
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
his
the
"Michigan"
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
well-""n-
Sculpture
exerted
Story.
cock,
HanWard
the
Stock
the
the
and
Henry
of
author
were
them
of
statue
full
Freedman,
Regiment,
National
has
and
among
the
well
serious,
Sheridan,
of
the
strong
yielded
Richmond,
Germany.
is also
trained
was
The
Hunter,
Seventh
pediment
so
pronounced
clung
tion
imagina-
carve),
to
Thomas,
Waldo
before
even
become
with
the
to
honest,
monuments,
Ward
was
century-
began
the
Powers.
L.
is
standing
He
president
years,
and
of
connected
1830)
others
the
Generals
in
(b.
Indian
of
admirable
As
many
P.
The
Brooklyn.
York.
for
and
account
on
appealed
for
portrait
sculptures
New
self
him-
statuettes
subjects,
work
His
Private
statues
and
ceived
also
devoted
Rogers
Ward
modelled
works,
early
by
Beecher
though
produced
popular
negroes,
Brown.
merely
Pilgrim,
followed
school,
and
many
his
Adams
Quincy
"
by
the
Ream
followed
people.
Ward.
executed
because
with
classic
John
immensely
also
and
War
the
produced
were
Vinnie
sculptors
subjects
statues.
and
subjects
genre
small
and
busts
portrait
to
of
biblical
B.
Stebbins
Lewis,
These
traditions
chose
Chauncey
Kmma
Edmonia
1829),
(1818-1881),
Dubois,
Xevin,
(1825-
(b.
Rogers
Gould
(1819-1904),
Foley,
the
part
frequently
many
John
Mrs.
Blanche
Gould
R.
Thomas
Haseltine,
Margaret
Hoxie),
they
1816),
Greenough
J.
Henry
Thomas
1828),
(b.
(b.
Saltonstall
Ives,
the
(1825-1879),
Rimmer
Richard
SCULPTURE
OF
Jackson
William
for
HISTORY
and
Long-
Waldo
Storjborn
Ezekiel,
artistic
training
until
Italian.
he
took
He
394
like
Connelly,
HISTORY
exhibited
and
there
Death"
sculptor's
studied
Academy
in
almost
an
1896)
worked
in
Portland,
those
He
produced
few
admirable
the
Two
should
"
did
also
thirty-five
interesting
son
(Boston
her
for
the
War.
Civil
but
sincere,
1907)
work
is
Her
isolation
has
in
six
in
part
To
him
Gmidens,
St
born
was
America
also
for
number
Eric-
Leif
and
Ethiopia,
ideal
some
and
left
Texas
many
Gerafter
soon
of
for
was
She
number
and
statues
and
thoughtful
always
her
prevented
probably
nearly
was
of
Munich.
modelled
Ney
considerable
in
good.
progress
technique.
AngvsUu"^
to
has
she
portraits,
settled*
and
(b. 1821)
Whitney
Westphalia
at
and
reasons
busts.
her
in
sculptress
She
portrait
many
in
political
born
Library.
Elisabet
Adams,
are
at
them
especially
statues
Samuel
was
popular
and
Boston,
in
until
are
some
busts
among
Miss
Mrs.
them
works
Ney
and
produced
Among
other
Miss
years
but
age,
Carpeaux
Buckingham,"
are
modelling
of
(1844-
Congressional
Boston,
shows
fountain
reliefs,
Garrison,"
here.
works
he
beautiful
fine
Whitney
Milwaukee),
and
subjects.
in
also
works.
Of
Lloyd
His
and
"Governor
the
Royal
portrait
a
the
of
the
Warner
Jouffroy
of
doors
study
of
years
of
Roma.
number
Anne
the
Levi
figures,
mentioned
be
begin
not
some
Mrs.
"
under
nude
Devens,"
women
Olin
at
which
in
busts,
of
Hartley
Paris.
fine, characteristic
William
"
and
and
range
Scott
Palmer,
or
monuments
the
"General
Italy,
bronze
public
Hartford,
Berlin,
years
and
the
of
his
Among
at
three
for
one
Dow
portraitist.
Oregon,
of
Erastus
monuments
admirable
Paris.
statues,
in
public
Jonathan
works
"Honor
wide
the
showing
ability.
under
London,
all
himself
"Thetis,"
of
group
nial
Centen-
his
Among
romantic
vigorous
the
at
appearance
disappeared.
and
taste
(b. 1845)
are
classic
his
soon
are
and
the
made
Roberts,
Exposition
SCULPTURE
OF
as
in
infant.
an
Rome.
years
his
more
Even
as
He
before
cameo-cutter,
subsequent
than
(his
Ireland
to
mastery
anv
other
father
trained
was
he
was
went
to
in
one
to
which
the
man
(1848-
Gaudens
St.
Augustus
"
but
French),
in
Paris,
Paris
fact
had
he
is
studied
worked
probably
of
treatment
is due
but
came
the
low
due
relief.
remarkable
SCULPTURE
of
development
work
the
modelling,
the
sentiment,
of
are
and
THE
UNITED
of
realism
helong
joined
with
poetic
charm.
recent
without
to
and
and
ability
insight
His
pupils
into
his
delicacj'
of
produce
to
insistence
undue
the
In
years.
freedom
movement,
which
STATES
in
sculpture
technique,
appreciation
qualities
Beaux-Arts,
American
thorough
impression
details,
IN
of
upon
the
character,
Ecole
Farragut
monument
depth
des
of
in
396
York
New
was
American
these
his
the
and
which
the
the
lifts
in
officer
relief
high
realism
martial
and
grace
the
Rock
seldom
French,
his
of
the
of
purpose
in
the
Florence
studio
of
merely
figures
and
Louis,
the
Boston,
of
of
in
the
pedimental
the
classic
the
House
considerable
Preston
since
groups
in
For
of
for
his
niunber
of
1875,
and
his
public
cealed,
con-
serious
lived
worked
training
He
and
the
he
year
and
but
merely
has
Custom
Philadelphia,
in
model,
only
is not
art.
the
Ward
Massachusetts.
time
tually
vir-
enjoyed
of J. Q. A.
his
Powers
which
practice
had
feeling
earnest
power
deservedly
produced,
original
sculptor.
of
he
of
sculptors.
studio
was
in
Peace
was
Concord,
at
Belvedere
this
young
Ball,
Court
Man,
ernor
Gov-
Renaissance.
American
when
anatomy
by
house
in the
of
have
compelling
(b. 1850)
month
Minute
Thomas
gained
French
beyond
overcome
the
as
of
of
"The
Gaudens
chief
the
house
Memorial
(called
St.
the
destroyed)
Adams
is
the
tomb
Early
the
there
art.
Chester
upon
of
of
life
Apollo
dependence
it is
in
his
the
of
York,
befitting
the
the
President
New
for
were
Washington
slight study
statue
of
figure
work
any
training
some
figures
patriotic
of
in
caryatides
"Death"),
or
Daniel
"
no
cast
angel
bronze
during
regarded
the
in
proportion
models
"
portraits
the
"
round
with
fact
Bellows,
the
mounted
the
in
for
morial
Me-
memorial
modelled
angels
into
Shaw
the
Dr.
The
the
Cemetery-,
seen
and
the
"Grief"
or
in
charm
portraiture
above
is
quality
poetic
of
exemplified.
same
This
relief
in
all
In
magnificent
floats
the
men.
and
mysterious
Creek
God"
of
the
of
190).
of
troops.
present
two
realm
historical
In
(unfortunately
grace
the
partly
and
Vanderbilt
Morgan
of
poetry,
are
the
of
Cornelius
In
with
power
characters
the
be
to
as
Princeton,
at
adds
figure
inspiration.
McCosh,
Victory
colored
marching
so
of
the
Chapin
is
the
In
similar
(Fig.
York
out
Deacon
character
New
figure
the
Chicago
in
and
sculptors
by
express
composition.
his
combines
and
Shennan
Boston
and
bronze
all
feel
in
monument
ideal
of
followed
was
symbolic
American
to
Lincoln
to
power
and
and
the
equestrian
seen,
that
It
public.
Springfield
In
revelation
SCULPTURE
OF
HISTORY
in
has
the
been
produced
House
the
in
Post
monuments
in
St.
(Mice
and
SCULPTURE
cord.
Ihcspi
the
Metropolitm
Mans."
IN
(Pholri.
THE
UNITED
STATES
398
the
portraits,
ill
them
Among
the
Alice
Mrs.
John
Freeman
and
(1908),
power
appreciation
beautj-
(b.
1863)
MacMonnies.
work
.flls
of
of
be
He
Barnard.
singled
is
and
relief
Memorial
of
self-restraint,
breadth
of
Frederick
Bartlett.
for
out
sculptor
shows
form,
mute,
memorial
RIelvin
may
191),
works.
deaf
the
the
Sculptor
other
many
and
{Fig,
the
teaching
O'Reilly,
Palmer,
refinement,
and
and
Boyle
commendation
especial
Death
Galtaudet
of
Massachusetts
Concord,
at
of
Milmore,
group
to
SCULPTURE
relief
Martin
monument
to
OF
remarkable
of
memory
the
HISTORY
ment,
treat-
William
"
MacMonnies
des
{Rcole
guiere
works
are
Paul's
Churchj
Sir
for
of
figure
New
of
George
Institute
"Boy,"
"The
Pan,"
artist
of
accused
(b.
1855)
His
skill
Bear
as
his
knowledge
He
is the
other
his
his
author
the
of
Columbus
at
effect.
artistic
of
sculptor
of
statues.
for
striving
is
bo"ly
human
and
equestrian
Michael
besides
Washington,
Among
his
recent
in
his
his
not
in
Paris.
modelling
and
Dancer."
and
are
questioned,
un-
"Bohemian
the
considerable
works
be
Bartlett
"Ghost
in
an
perhaps
monuments
Angelo
God
is
were
in
Art
He
entirely
seen
is
include
Wayland
in
it
"The
may
dexterity
Daniel
but
works
sincerity
Paul
that
of
busts.
education
animals
remarkable
several
His
if his
the
Chicago
Love,"
power,
and,
the
but
the
individuality.
of
in
portrait
ain^
restraint
and
Library'
of
of
received
Tamer,"
admirable
originality
lack
of
various
groups
than
that
charm
the
lyn,
Brook-
Point,
simplicity,
"Brotherly
and
Hewer,"
than
studied
St.
Metropolitan
French
Beaux-Arts.
Natures,"
marked
of
des
West
the
lacks
18(51!)
in
Library,
restraint
wqrk
in
Indianapolis,
at
and
possesses
(b.
Ecole
Two
Public
Monument,
less
hb
angels
Stranahan,
thoroughly
his
and
the
"The
Boston
more
exhibits
Barnard
and
T.
Monument
Battle
is
style
executed
Grey
S.
Fal-
Among
bronze
York,
of
Gaudens,
St.
Mercie.
Luxembourg
Sometimes
well
always
the
the
the
and
Gaudens
French.
\ew
Sailors'
on
His
St.
('.
and
in
Museum.
in
Vane,
of
and
James
York,
Victory
"Bacchante"
in
Hale,
Soldiers'
Beaux-Arts),
Nathan
Harrj'
the
was
pupil
of
the
sional
Congresnumber
six
excellent
SCULPTURE
symbolic
Xew
for
figures
of
Boyle.
is
Merci6,
women,
works,
of
account
which
it
Joseph
of
doors
Church,
In
(b.
1855
in
the
ate
power,
he
went
classic
Athlete
works
in
(Muskegon,
Michigan),
(Memphis,
John
and
of
the
Fairmount
Ecole
the
Philadelphia,
"The
Philadelphia,
is
in
two
Bacon
and
in
a
the
nmnber
of
is
an
The
Savage
Library-
and
in
His
Chicago.
at
other
delphia
Phila-
work
tion
representa-
Age"
(1888),
Indian
is
in
woman
as
is also
qualities
same
exhibited
Age,"
Congress,
works.
well
the
Buffalo.
of
number
impressive,
and
Exposition
Forrest
of
educated
of
group
"The
groups
General
Stone
vigorous
Alarm,"
the
and
McKinley
and
Beaux-Arts.
field
of
Hooker
dignified
was
Greek
Hahnemann,
author
always
favorite
Indian.
Pan-American
of
des
His
children,
in
is
the
(b. 1851)
Boyle
American
"The
seen
work
original.
two
group,
His
them
equestrian
this
Most
W^ashington),
is also
his
figures
"The
known.
Farragut,
the
He
is
nude
these
among
in
sculptor
making
several
widel"'
Lincoln,
the
Park,
her
author
J.
at
and
powerful
the
(all
Niehaus
as
After
Of
most
than
Cincinnati,
best.
made
mew's
Bartholo-
H.
education
manner.
and
reliefs.
modelled.
he
is the
Tennessee).
excellent
his
statues,
(Hartford),
were
"
Moses
Davenport
and
where
realistic
Strigil
Gibbon,
of
the
rather
charm,
in
doors
memorial
Charles
his
Garfield,
one
monumental
are
Garfield,
and
Rome,
to
using
of
statue
subjects
and
St.
bronze
of
qualities.
received
work,
important
statue
prevailing
His
Channing
Congress,
in
number
delicacy
Cincinnati)
at
Munich.
first
works
of
on
of
bronze
the
his
statues
Ellery
Librarj-
of
sentiment
are
Memorial,
and
York,
his
all
the
Vanderbilt
the
New
works
William
busts
praise
of
and
other
1858),
one
peculiar
for
(Washington),
in
(b.
charming
Pond,
Miss
out
his
Henrj-
bronze
tablets.
of
(Philadelphia),
and
"Writing,"
in
in
Library'
Adams
his
for
workmanship
of
Among
representing
at
Public
Herbert
singled
delicacy
Smith
(Boston),
his
the
noted
bust
be
may
the
discloses.
Richard
of
of
"
especially
which
among
earliest
his
399
STATES
UNITKD
facade
the
Niehaus.
of
pupil
of
THE
York.
Adaiiu.
IN
is also
He
a
Franklin
the
400
(b.
he
Italy
made
his
several
and
number
angel
of
and
and
them
the
fine
stuhl
(b,
ideal
figures,
lesser
is
shows
has
be
to
and
productive
lectured
and
art,
His
show
the
is
in
poetic
brotfd
politan
Metrohis
in
seen
many
the
this
other
ment
treat-
nude
most
works
also
in' addition
to
busts
and
culture
and
he
and
temperament
(b.
Partridge
portrait
at
Ruck-
produced
In
Ordway
on
pressive
im-
(among
Hancock,
has
his
of
William
ful
thought-
Wellington
which
many
General
best.
In
artist
an
sculptor.
sjTnpathetic,
that
school.
individuality.
written
the
than
French
himself
marked
the
the
and
f^win
statues
"Evening"
still
is
produced
He
the
perhaps
realistic
less
of
which
is
He
Frederick
Paris,
numerous
Frank
portrait
of
statue
in
among
has
figures,
works.
studied
1853)
Museum
figures
ideal
equestrian
and
Gettysburg),
who
sculptor,
interesting
In
reliefs,
Paris.
its
portraits.
made
excels.
Bostonand
in
imaginative
he
long
with
detail.
of
has
charming
which
in
figures,
studied
(b. 1858)
several
statues,
fine
number
he
1897,
Cou-
for
style,
and
and
figures
in
lived
Italian
workmanship
ideal
William
"
Ball,
modem
America,
to
busts
portrait
Elwell
delicate
return
Thomas
the
acquired
toward
inclination
Since
and
Italy
SCULPTURE
Partridge.
of
son-in-law
1853),
in
time
OF
Rvckstuhl.
ElweU.
Couper.
per
HISTORY
his
1861)
work
statues
as
are
of
imagination
artist.
Konti.
Bitter.
1862),
and
ideal
figures
by
kinds.
other
death
has
than
also
chief
exerted
decorative
put
been
an
Konti
architectural
of
ver;-
J.
his
lacking
important
decoration.
in
in
by
and
strong
merit.
Karl
himself
of
decorative
his
monumental
(b.
architectural
upon
also
when
(b.
work
found
sculpture,
and
development
produced
1858)
sculpture
has
1858)
the
work
growing
Martiny
creator
has
whose
monuments
excellent
though
influence
He
also
Philip
Rhind
Masse;-
activity
was
public
distinguished
and
career.
Bitter,
or
extensive.
field
his
decidedly
more
either
nor
Austrian,
influence
to
(b.
sculptor
his
sculpture
His
end
Konti
excellent
an
though
few
another
(1867-1915),
brilliant
is
work,
neither
are
Isidore
"
birth,
by
is decorative
field
Bitter
of
Austrian
an
special
Rhind.
Mariiny.
several
is
the
has
of
por-
402
HISTORY
Sculptors
who
(b.
and
monuments
who
(b,
he
in
G.
other
Boston.
by
Kitsoit.
II.
In
(b.
1872),
II.
Kitson.
Boston
and
1848)
good
Pratt
(b.
and
in
who
he
E.
and
the
"
in
All
to
profound
E.
Brooks
of
(\i.
1805),
Virtor
D.
E.
Jiimes
is
Skodik.
Antonin
1871),
E.
work
ii
ijculptora
of
that
rity
all
who
in
"Signal
Philadelphia,
Louis
St.
in
tion,
exposi-
Boston
works,
(Fig,
testifj'iug
Richard
power.
Bachmann,
Fraser
of
of
H.
architectural
an
New
deserve
C.
mention.
SinimonB
"Eiid
(whose
realism:
dramatic
York,
John
Roudebush.
Amory
Uie
reists
the
Spirit"
imaginative
John
(b.
TeKt.
the
ous
numer-
reputation
mentioned,
Coiiner.
Bremipr
Exposition,
Qerlach.
be
to
reliefs,
exquisite
produced
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
and
Grafly
ling
Stir-
much
been
as
great
of
(b. 1870)
has
but
teenth
nine-
Charles
at
Alexander
teacher,
work
the
Building
full
are
Calder
Alexander
of
which
Art
power.
and
tion
Exposi-
the
Louis,
Haniisch,
figures.
"Truth,"
decorates
teacher
and
busts,
Pan-American
and
also
large
"Fountain
the
E.
after.
man,
French-
art,
middle
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
a
of
Valentine
(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
and
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
York,
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
great
so
who
1872)
Edith
Coleman
Anna
schools
important
animals
(b.
Whitney,
country
in
and
women
MacNeil,
Longman
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.
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Type)
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Archaeotogy,
Greek
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Die
2d
Skulptur.
grieehitche
I'acropole
The
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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
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Histolre
Chipiez,
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A.
in
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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
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romische
the
1905.
Briii"h
des
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School
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426
W.
P.
M.
II
Ricci,
A.
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G.
Max
(fuOTRO
in
Ah
di
Periodicals
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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
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la
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Sculplaret
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I'art,
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II.
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de
I'art"
1912.
Mediaeval
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Bode,
General
Geitrhirfile
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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.
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Die
goUxrhe
F.
Liibbecke,
Michel.
Die
HiHoire
de
I'art,
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A.
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dee
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E.
Art
de
in
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Sehw"d)en,
de"
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der
deutxhen
1910-.
vol.
Flandere,
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II.
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v.
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de
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gotische
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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
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1897.
above.
aa
la
de
Mittdaiier,
im
1913.
moyea
M.
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III.
II,
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L'txrl
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Les
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Una"
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1911
iialiana,
arte
MEDIAEVAL
A.
1913.
1914.
Italy,
dell'
Italian
Wetera,
1911.
Onieio,
Northern
Storia
SCULPTURE
ttnftienne,
sadpture
I/i
Mattioni,
OF
Pladik,
Tialienueke
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C.
W.
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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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