File:History of mediæval art (1893) (14593877190).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

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al at Granada, which alone has been pre-served, is remarkable for its regular arrangement of emblems andcoats of arms; a similar ornamentation appears also in the interiorof the votive Church of San Juan de los Reyes at Toledo, and inthe beautiful cloistered court connected with it. A great number of Gothic palaces, convents, hospitals, anddwelling-houses are still preserved in Burgos, Valladolid, Toledo,Valencia, Barcelona, and other towns. Fine examples of decora-tion are the portal of the Convent of S. Gregorio at Valladolid, andthose of the hospitals Casa del Nuncio and S. Cruz at Toledo, etc.Several high-altar pieces are similar in character to the before-men-tioned fagades; their frames and panels show reminiscences of the SPAIN. 58/ Byzantine and Romanic metal-work, from the Pala dOro down tothe bronze gates of Germany. The architectural structure, how-ever, which is the chief feature of the corresponding German worksis here of subordinate importance. A number of Gothic funeral
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Fig. 374.—Fagade of S. Pablo in Valladolid. monuments, particularly the royal sarcophagi in the Cartuja deMiraflores near Burgos, are of great magnificence, being scarcelyinferior in elaboration to the tombs of the Burgundian dukes inDijon. It was not until late in the Gothic period that Portugal began 588 THE EXTENSION OF GOTHIC ARCHITECTURE. to emulate Spain in artistic activity. The fine Convent of Batalha,commenced in 1390, does not, however, exhibit any great individu-ality, although the forms are more full and flowing,—a difference incharacter corresponding to that between the Portuguese and Span-ish languages. In both countries the Moorish influence is noticea-ble in the frequent employment of the horseshoe and cusped arch-es, the arabesque traceries, etc. In general, the later Gothic of thepeninsula is characterized by a luxurious overgrowth, this being es-pecially manifest in the superabundant curled ornamentation of thecapitals, in the heavy crockets and finials, console

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