File:History of mediæval art (1893) (14778266204).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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arlynoticeable in the sculptures of the facade of the Cathedral of Orvi-eto. Although these reliefs compare to the Gothic works of Rheimsand Amiens as do the sculptures of Niccolo to those of Freibergand Wechselburg, they are far less ecclesiastical and more realisticin character than are those of the North. This applies especiallyto the representations of Adam and Eve and the Last Judgment.The more thorough study of nature, the greater elegance of form 636 GOTHIC SCULPTURE. and the finer feeling for beauty apparent in them, render any con-siderable influence from France or Germany improbable. Theseworks have also the lively and pathetic action, the flowing lines,both of the nude parts and the draperies, and the gentle, almostsentimental expression characteristic of Gothic art in general; butthe classic training received by Giovanni and his fellow-students,tending towards a close and objective observation of nature, hadprotected them from the subjectivity of Northern art. Besides this
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Fig. 394.—Relief upon the Pulpit of Giovanni Pisano in S. Andrea of Pistoja. training, the better material provided by the Italian marble mayhave contributed to a greater refinement and thoroughness of exe-cution. The relations of the art of Giovanni to that of Niccolo may bebest exemplified by comparing two representations of the same sub-ject (Figs. 393 and 394). The pulpit in S. Andrea at Pistoja, attest-ed by an inscription to be the work of Giovanni, was completed in ITALY. 637 1301. The composition of the Nativity is much the same as thoseof the puipits of the Baptistery of Pisa and the Cathedral of Siena.But the Classic-Romanic character of the representation in the Bap-tistery of Pisa, which had been somewhat modified in several of thefigures at Siena, has in Pistoja beenwholly exchanged for the gracefuland gentle forms of the Gothic. Theattitudes are life-like, the epic reposeof the older work being here givenup for an action almost dramatic,—the rigid dignity and stately

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