File:History of mediæval art (1893) (14593729668).jpg

Identifier: historyofmedival00rebe (find matches)
Title: History of mediæval art
Year: 1893 (1890s)
Authors: Reber, Franz von, 1834-1919 Clarke, Joseph Thacher, d. 1920
Subjects: Art, Medieval
Publisher: New York : Harper & Bros.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
pears in the works of Venice,and still more in those of Florence. In the building of S. MarcoVenice has given expression in the most monumental manner tothe relations of its culture with that of Constantinople. The deco-ration, like the construction, is by no means of one character, for * M. Amari, S. Cavallari, C. Meli e J. Carucci, La Capella di S. Pietro nella Reggiadi Palermo, dip. da A. Terzi. Palermo, 1872 sq. f D. B. Gravina, II Duomo di Monreale ill. e riportato in tavole cromolitografiche. Pa-lermo, 1859. ITALY. 427 in this church the Byzantine style was retained far into the periodof the Renaissance. But, aside from this, it is plainly evident thatthe artistic methods of the Eastern empire never did become as en-tirely naturalized in Venice as in Sicily, but were merely borrowedfor temporary requirements, thus rendering more easy the introduc-tion of compromises resulting from local peculiarities. This stateof things, it is true, was not at first favorable to the development
Text Appearing After Image:
Fig. 262.—Entrance of Christ into Jerusalem. Mosaic in the Capella Palatina, Palermo. of an artistic style. The oldest works of S. Marco, those in thecathedrals of Murano and Torcello, and the mosaic of S. Ciprianoupon the Island of Murano, dating to 1109, now in the Friedens-kirche, near Potsdam, are by no means equal to those of Palermo. The first dawn of independence in Italian art manifested itselfeven more decidedly in Tuscany than in Rome or in Venice. Theearliest memorial of this progress is the mosaic executed in the tri- 428 PAINTING OF THE ROMANIC EPOCH. buna of the Baptistery in Florence by the Franciscan monk Jacobus,A. D. 1225. However pleasing because of its novelty of composi-tion and greater freedom in the draperies, this work still betrays theinfluences of Ravenna, and a direct dependency upon the produc-tions of the age of Justinian. These characteristics may be tracedfor a hundred years and more, being evident in the works of AndreaTafi and Gaddo Gaddi, in the sam

Note About Images