Page:Charles Moore--Development and Character of Gothic Architecture.djvu/17

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CONTENTS''

xiii

elements—Their naturalistic qualities—Their rudeness of execution—Awkward placing of the interior sculptures of the Presbytery of Lincoln—Lack of artistic gift displayed in Anglo-Norman foliate carving—Artificial character of conventionalised forms in England—Figure sculpture not generally employed as an architectural adjunct in the pointed architecture of Germany—The statues of Cologne are Renaissance rather than mediæval art—Distinctive types of German foliate sculpture—Late development of figure sculpture in Italy—Italian sculpture an individual, rather than a communal product—Italian sculpture not organically related to architecture—Prevalence of surface reliefs—Two elements conspicuous in Italian sculpture—Classic elements of the art of Niccola Pisano imitative rather than spontaneous—Nearer approach to Gothic character in the art of Giovanni Pisano—The influence of nature and expression of beauty in the art of Giovanni Pisano—Little of distinctive importance in the foliate sculpture of Italy—Close imitation of nature a tendency in this sculpture—No important developments in sculpture ever had place in Spain—The carvings of Spanish Gothic copied from the French Pages 284-297

CHAPTER IX

Gothic Painting and Stained Glass in France

Figure painting not much employed in Gothic architecture—The characteristics of the figure painting of the twelfth and thirteenth centuries illustrated in the manuscripts of the time—Little progress in the art of painting was made by the Gothic artists—Chromatic design in Gothic art developed chiefly in the department of stained glass—The inherent limitations of this art—This art not capable of development beyond the conditions that were reached in the Middle Ages—Examples of stained glass in St. Denis, Chartres, and other churches 298-304

CHAPTER X

Painting and Stained Glass in England and other Countries

Nothing different from the painting of France was produced during the twelfth and thirteenth centuries in the other countries of Europe—Earliest development of painting in Italy posterior to the epoch of Gothic art—Technical characteristics of early Italian painting—Its monumental qualities—Its union of pictorial and decorative elements—Its expressional purpose—No peculiar styles of design in stained glass were produced in England, Germany, Italy, or Spain 305-309