File:History of mediæval art (1893) (14777987104).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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eing full of life, and the draperies natural.Early Christian and particularly Carolingian reminiscences may berecognized, but the awkward laboriousness of those works has beenin great measure overcome. A certain technical skill is evident,together with a facile and careless execution. * Such, for instance, as that shown in Zahn, Pompeii, III. 16.f Compare Mon. d. Inst. d. C. A., VI.26 402 PAINTING OF THE ROMANIC EPOCH. The representation of the Last Judgment (Fig. 247) is but littlemore recent. Its similarity to the mosaics of the early Christianbasilicas is probably due to the subject, as well as to the smallernumber of figures. Unfortunately, the effect of the whole is im-paired by its bad state of preservation, especially by the flesh tintshaving become black through a decomposition of the red lead. The mural paintings in Oberzell are the more important as theyare the only ones worthy of mention, remaining in Germany fromthe period to which they belong. We have especially to regret
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Fig. 247.—The Last Judgment. Wall Painting at Oberzell. the loss of the battle-piece which was executed by order of KingHenry I., in the upper hall of his palace at Merseburg, in com-memoration of the battle against the Hungarians near Riet on theUnstrut, in the year 933. It may, however, be assumed that thiswork was similar in character to the historical wall painting ofCharlemagne in the imperial palace at Ingelheim, even as these hadfollowed the style of the decorations in Queen Theodelindes palaceat Monza. The half-figures of saints in the ground-floor of thetower of Nonnberg in Salzburg, dating to the eleventh century, aremore Byzantine in conception and form than those of Reichenau; GERMANY. 403 this is probably due not only to the nature of the subject, but alsoto the intimate relations of Salzburg with Venetian culture. Better examples than those of the mural painting of the tenthand eleventh centuries at Oberzell, are afforded for the twelfth bythe decorations of the Lower

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