File:Art in France (1911) (14766027415).jpg

Identifier: artinfranc00hour (find matches)
Title: Art in France
Year: 1911 (1910s)
Authors: Hourticq, Louis, 1875-1944
Subjects: Art
Publisher: New York : Scribner
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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ourse of the fourteenth andfifteenth centuries, a peculiar evo-lution, independent of all decorative considerations, and intent on the creation of forms more realistic or more mannered. The favourite motive was the figure of the Virgin. The image of the Motlier, standing, and hold-ing in her arms the Child Jesus,naturally multiplied. We find itnot only on the altars of her in-numerable chapels and in privateoratories, but at street-corners,sheltered in little niches, and en-shrined in the walls of houses underher protection. The attitude andgeneral aspect had been fixed inthe thirteenth century: the Virginof Paris, of Amiens, and of Reims,IS a gracious queen smiling at herchild. But when she descendedfrom her pedestal and became astatuette, the Virgin partook moreof the nature of common humanity.The men of the fourteenth andfifteenth centuries loved her best in her character of mother; when she was shown smiling at the gambols of her infant, prayer might without impropriety become 104
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FIG. 208.—WES I IKiiM I IF HIECATHEDRAl, OF KODE/. FEUDAL ART AND CIVIC ART familiar, and poor folks spoke heartto heart to this Virgin who inspiredno awe. These images of stone, wood, orivory were not all fashioned byexpert hands; the goodwill of thecraftsman was not always crownedby success; the humble artisanwas careful to preserve the typecreated by the great imagiers, buthe often omitted the finer gradations,and exaggerated particular features.The date of a mediaeval Virgin mayalways be approximately fixed by thedrapery; it was only very exception-ally that the Gothic sculptors treatedthe nude; the design of the foldscharacterises each phase of theirstatues in trailing robes. In the thir-teenth century the drapery was still

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