File:Stained glass of the middle ages in England and France (1913) (14756680516).jpg

Identifier: stainedglassofmi00arno (find matches)
Title: Stained glass of the middle ages in England & France
Year: 1913 (1910s)
Authors: Arnold, Hugh Saint, Lawrence Bradford, 1885-
Subjects: Glass painting and staining -- England Glass painting and staining -- France Art, Medieval
Publisher: London, A. & C. Black
Contributing Library: Wellesley College Library
Digitizing Sponsor: Wellesley College Library

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he slow move-ment of a figure, but its folds are drawn in amuch more advanced manner than before, andseem to bear evidence of a certain amount ofdirect study of actual drapery, either on the partof the artist or of those whom he was following.The ideal of gracefulness shows itself in a lovefor long and sweeping folds, as may be seen inPlates XXIV., XXX., XXXI. At first the artist is content to use in hisdrawing the strong line work of the precedingperiod, but as the century proceeds this becomesrather more delicate, and he begins to feel hisway towards modelling in half-tones. The draperyover the \^irgins knees in Plate XXI. shows thisvery clearly.Neglect of With tliis prcoccupatiou with the truer render-ing of form, it is perhaps not surprising that thestudy of action was neglected. The artist hadenough to do to draw his figures and draperyin repose without making them move aboutand do things, and a contributory cause was, movement. PLATE XXVIGRISAILLE PATTERN AND BOSS FROM PLATE XXV
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THE STYLE OF THE SECOND PERIOD 145 no doubt, the weakening of interest abeadyalluded to in the subjects he had to illustrate.This then is why, whereas in the thirteenth cen-tury we find a highly conventional rendering ofform allied to naturalism in movement, in thefourteenth, conversely, we find conventional posesand movement aUied to a more naturalistic render-ing of form. Comparative study of the illuminated manu-scripts of the same period shows exactly the samechanges in progress. So closely do the two artskeep pace with each other that I do not thinkit can be said that at any time either was leadingthe other. They must have been in very closetouch even if they were not, which it is quitepossible they often were, practised by the sameartists. The lead, if there was a lead, must havecome from sculpture. (6) The use of Natural Plant Forms in Ornament. Natural—This is another manifestation of the same spirit, P ^* ^°\ ^ m ornament. and divides the work of the fourteenth centurymost

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