File:History of mediæval art (1893) (14777216111).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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rtain drawing, and clear tones in place of dark and muddy colors.The second dedicatory picture, for instance, is an almost exactcopy of that in the Codex Aureus of Charles the Bald, althoughin technical execution it is decidedly Byzantine. A high degreeof artistic ability is also noticeable in independent compositions, asin the first dedicatory picture, which represents the king standing,receiving from Christ the crown, and from two angels the swordand the staff of the cross, while his arms are supported by St.Ulrich and St. Emmeramnus, the patron saints of Augsburg andRatisbon (Fig. 257). Similar in character are the copies of thegospels in Munich (Cim. 57), and in Bamberg (A. 11, 46), and the 416 PAINTING OF THE ROMANIC EPOCH. Codex of the Apocalypse, also in that city (A. n, 42), all referableto Henry II. In the missal from Niedermuenster, now in Munich(Cim. 54), executed by order of the abbess Uota, under Henry II.,Byzantine influences prevail, making themselves evident in a close
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Fig. 257.—Dedicatory Illustration of the Missal of Henry II. Library of Munich. imitation of the manuscripts of Otto III. They appear also in theGreek inscriptions, in the preference for geometrical arrangement,and especially in the conventional composition. Even here, how-ever, traces of the style of the Codex Aureus of St. Emmeramnusare plainly recognizable. GERMANY. 417 Ratisbon, where the art of illumination flourished in the elev-enth and twelfth centuries, had in this branch an influence upon theneighboring bishoprics and convents, similar to that exercised inmonumental painting by the before-mentioned schools of the Rhen-ish countries over their surroundings. As a matter of course, thisinfluence was chiefly felt in Bamberg, the artistic importance ofwhich place at this time is usually overrated, in so far, at least, asthe introduction and imitation of models from Ratisbon are ignored.Certain it is that the so-called Gospel of St. Ulrich, now in Munich(Cim. 3), is not referabl

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